On the other hand, I view the whole matter from a cosmic perspective. I don't take a position. I believe that there are no more positions to take, no certainties, no facts. Many people find this confusing about my films; they say I am hiding out behind irony. But from a cosmic viewpoint, it is eternally unimportant whether one lives or not.

I have a very, very secret drive to become a dilettante, without the pejorative overtones or the obligation to produce myself. There's so much to examine, so much to contemplate. I have enormous enthusiasm when I start a new project but then there's the meetings and the counter-meetings, the rehearsals, the struggles. You have to keep pushing and pushing and pushing to get your dreams realised.

Painting is the supreme form of expression; you don't need to 'read' painting.

I like to think of The Falls as my own personal encyclopedia Greenaway-ensis.

We are all united by the phenomenon that we have a body and that body is universally the same, more or less. If we lose sight of that perspective, everything can desperately suffer.

Cinema is not a playground for Sharon Stone.

Eisenstein was a good editor. I was trained as a film editor, and I've no doubt that the editor is key to a film.