There is a magic thing called 'tone' in a film, that the director must master and maintain.

Novels have become equally important to me as films. I consider myself a storyteller and passionately engaged in both of those disciplines.

The script is the musical score, and everyone has to play off that score. Even I have to interpret it. The producers are there to eliminate obstacles to that interpretation.

That's one thing I find about having children - it does unlock a door that separates you from other women who've had children.

As much as there are intellectual choices to be made and all the rest of it, a great actor has the ability really, to disappear and lose themself in a kind of mystical fashion. My appreciation and fascination with true acting is really all over the book, definitely.

When I left university I was sure that I was going to be a painter. Then I had a crisis, a revelation. I saw Dolce Vita and my mind was blown by it, by the synthesis. I realised I wanted to be a filmmaker and started making films. I was writing screenplays and couldn't get money because my work was so uncommercial. I got married and started writing fiction. What was wonderful is that it gave me my freedom because no-one can tell me I can't work. Novels have become equally important to me as films. I consider myself a storyteller and passionately engaged in both of those disciplines.

As if there's a world that exists that you're semi-privy to yet can't quite penetrate - that's how it feels when you're starting a book.