Looking at paintings was a huge part of finding my way into the lush world of the 18th century.

Every work coming from the creator is about getting the demons out, and each character in those stories had a different personal crisis to get through.

In a way, a lot of my work is in the re-writing once it is cast, as I adapt to the rhythms of how the roles are played out by the actors.

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.

At best, I think of a director as a magnet. You get all the metal fillings in all the individual actors and crew, and get those filings moving toward your magnetic direction.

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.

I'm fascinated by what makes up a self, how one becomes a self, how much is it an answer to others and how much is it an essence of self. We learn how to be people from other people. Then you think - what's personal freedom? Is self-creation possible? This book is dedicated to a friend of mine who really did re-create herself. I didn't do that - I stayed in the circus and am a circus performer like my parents were. I did what I was raised to do - I'm glad I did but I'm fascinated by the people who managed to do something else. I was always very curious about other people.