What bothers me is that the cinema - what Fox News calls the "wholesome cinema that our children are supposed to be able to see" - is so violent. I'm not even talking about the content. I'm talking about the way in which it's cut.

Daily absorption in the physical actualities of nature is life as I need it to be: it means I am connected to such large things - sky, sea, hill, the vagaries of weather, the undeniable needs of animals - that I can disappear as a subject of interest, I can exist without self-consciousness. The city is a challenge for me, however thrilling a few days prove, for its insatiable overstimulation and the rarity of quiet. The city makes people bigger than they need to be.

I never quite understand the way society decides who is beautiful and who is not. But an open face and a capacity for kindness always feel like reliable signifiers to me.

There's a thing I really mind hearing, when someone says: "That's not my kind of film, I don't want to go and see that..." I don't believe that, I don't believe that it's possible to write off a whole genre of filmmaking - "oh I don't like subtitled films", or "I don't like black and white films", or I don't like films made before or after, a certain date" - I don't believe that.

Alexander Trocchi was an existentialist. He was looking at an alienated artist in the post-war period. It's modern because it applies now as well.

I've been on the other side of the table many times, trying to get people to be sympathetic to projects, and I've been the victim of that kind of intense kindness masking extreme stupidity.

I'm just really old [in Doctor Strange]. Just really, really old. There is I suppose a sort of theme tune which I'm really interested in.