The culturally specific, in particular, the American porch play that American writers have cherished and loved for many years in terms of their new writing, has seemed to have very little relevance to a much more fast-flowing, abstract, experimental drama that has been emerging in [the UK]. The porch play, not to mention that thing of, Oops, I wasn't loved enough by my father, somehow didn't have the relevance in this country.

With journalism, films always have to be to do with some personal statement of your own. As a general rule, I resist that. In the States, a question that kept coming up was this: how can you, as a man, talk about three women?

When I got married, my mother was very surprised. She said: What on earth is going on? I thought you were gay?

The truth of the matter is, every film is imperfect. It's the nature of the beast. One of the things that people ask me all the time is, what's the difference between theater and film, and one of the biggest differences is, in the theater you always get another go.

I'm not really a director for hire. You read these scripts and go, 'This is a really great script, but Paul Greengrass would make this so much better than me.' I usually say, 'I know who would be good for this. It's not me.

They're a redefinition of boredom... the most important thing you need to know about an awards show is where is the nearest smoking opportunity.

I am, in fact, Superman. Every morning I wake up and go into a telephone booth and change my costume, and then go to work.