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.

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.

England is strictly class-based. What's surprising is how many films are still made with a load of people in silly frocks running around gardens and talking in middle-class accents.

I love changing. I hate it when people try to box me in to a relationship or in a work context. Any situation where I feel boxed in freaks me out. And I feel the need to reinvent myself or I'll get bored.

Well, there are three different processes of making a film, of course. They're sort of re-written three times. You write it to start with, and then you shoot it and you re-write it while shooting and you sort of re-write it as you edit.

Ring up your parents and ring up your kids and tell them that you love them.

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.