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.

There are a few writers that one has a relationship with that means, basically, you do whatever they say. One is Caryl Churchill, and the other is David Hare.

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.

I have never been motivated by money in my life. You can't make choices based on what the financial return might be.

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.

You have to trust your own instincts about what is appropriate and what is not appropriate and trust your own feelings about what you can and can't show for yourself, and it'll be different for everybody.

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.