You can mix in certain sensitivities as a filmmaker.

I don't know if there will ever be an ideal way of selling an original picture. Because everything you're doing, you're inventing.

There's almost a fear that if you understood too deeply the way you arrived at choices, you could become self-conscious. In any case, many ideas which are full of personal meaning seem rather banal when you put words to them.

I love stories and I don't like to repeat myself. And I look for new stuff, and as they say it gets harder.

I'm not from a theatrical background where people do like to work it out on some stage space.

Sixty-five days principle photography, five-day weeks, which is the only way I'll work. With my cinematographer Russell Boyd, we take as much time as possible before pre-production, looking at stills. The next most important thing: he will come to me and talk about lenses. And I'll see his plan, which is generally great, and I might talk about how the light will be, handheld or not? I talk very freely, and try not to talk specifically, just talk around it, because it can unlock all sorts of things.

Music stops you from thinking.