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?

One of the great joys of my job is that you spend a huge amount of time investigating different areas of literature.

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'm a theatre person, that's who I am. I'm happy to make sojourns into the world of movies but I'm basically a theatre director that potters off and does a couple of movies.

I always say, 'I really need to take a break.' It's three days in and I'm getting pretty bored.

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.

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