When I began making films, they were just movies: 'What's the new movie? What are you doing?' Now they're called 'adult dramas.'

I've become wary of interviews in which you're forced to go back over the reasons why you made certain decisions. You tend to rationalize what you've done, to intellectually review a process that is often intuitive.

Ed Harris seemed to be as a man, it seems, like a Clint Eastwood, this country is one that has produced more than one of this kind of man that's iconic and enormously appealing to the world, as part of American film culture.

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.

Anybody I'd spoken to who'd been in Siberia said 'would you please put mosquitos in your film,' that's what everybody knows about, they're big and they're nasty.

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

You can mix in certain sensitivities as a filmmaker.