I think there's a dishonorable tradition in Hollywood to give the idea, particularly to children, that evil characters are dark.

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 remember noticing, when I had my babies, how much I liked them, and not just loved them, but I was really into them. I knew I was going to be curious about them, and up for the mayhem ahead.

I'll tell you one thing, and this is banal to say because it just makes it sound like it's all planned, and nothing is planned at all. But one link is with The Deep End, and one link is that I'm making a film later on that revolves around the relationship between an innocent party and a dead body.

I think that both Luca [ Guadagnino]and I have a kind of resistance to the idea of a film holding a moral message because that would exclude so many people from feeling that it was their film and it's important for a piece of work to feel owned by every member of the audience.

What very often happens when people make films about rich people, the camera is quite mesmerised by the opulence and quite theatrical in fact.

The whole thing of working in collaboration with filmmakers is the thing that I love the most, and possibly the thing I do the best.