If I can't make the kind of film that I want to make, then the hell with it.

Casting the right actor for the right part is some unspoken thing between the two of you to communicate.

I always thought the editor should cut the film and so I'll come in and look at the movie. Just because that's the only way I can really see the ideas of the editor, it's really working together. Yes it's a hierarchy, yes I'm the boss, but I like to see and to think about the idea, and it's about us asking, 'do we have to say that?' and, 'how do we make it there?' So it's advising the editor, it's very give and take, it's very free, but in the end, it's wonderful once you get through the first couple of cuts.

Movies tie things up in an arbitrary length of time, but I have always liked things that aren't fully realised.

I'm not from a theatre background, I'm wary of rehearsals. But what I do like is hanging out together, on location.

The smallest detail can contribute to the whole, I think particularly with emotion, you want it to be as authentic as it can, whether its a artifact or a theatrical event. But the whole is the sum of so many images.

I loved Sherlock Holmes as a kid, but I remember being disappointed when he'd come up with these simple explanations for these complex mysteries.