I read the script just once, and then forget it.I just deal with what I see every day on the screen and whetherI believe it and understand it.

I read the script just once, and then forget it.I just deal with what I see every day on the screen and whetherI believe it and understand it.

Like a lady who has lost weight and she's just getting to that point where she can fit into that favourite dress, you get the film down to just about the right cut. You can feel it when it happens.

Michael's Powell art director was a painter and they had a wonderful friendship and artistic understanding. Michael himself, in the way he designed his own house, it was always with bright colours. Very un-English!

Emeric [Pressburger] was completely cosmopolitan. That's what makes their [with Michael Powell] films so special. Neither of them thought twice about making a film about a friendship between an Englishman and a German during the Blitz. They were genius.

[Martin] Scorsese says one of the great things he loves about it is how Mark can't get the right shot and he's killing people because he can't get the right shot. It's an example of what film-makers are like.

I'm not a person who believes in the great difference between women and men as editors. But I do think that quality is key. We're very good at organizing and discipline and patience, and patience is 50 per cent of editing. You have to keep banging away at something until you get it to work. I think women are maybe better at that.