Jack Cardiff - the greatest cameraman who ever worked in colour - was a lab boy to start with so he knew Technicolor from the inside out.

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.

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.

[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.

Jack Cardiff - the greatest cameraman who ever worked in colour - was a lab boy to start with so he knew Technicolor from the inside out.

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.

Michael Powell always used to say 'I'm a typical Englishman'. He was and he wasn't. He was very cosmopolitan and spent a lot of time in Europe.