Anybody can decide if they have got the money to fight a case if they don't like a particular thing, and they complain to the watch committee, local council or whatever.

The cool thing about making a Western is that people want to be in them. You rarely get the opportunity. With horror movies you are always trying to convince them. People in horror are always worried it's going to be this schlocky thing, and you're always trying to convince them that it's not. With Westerns, people immediately react with, "Oh, I've always wanted to do one."

The Long and the Short and the Tall made a great impression on me because it was a very ugly tale about the reality of soldiering at a time when we were being gung-ho about the whole thing of war.

The bigger the movie is, the more agendas everybody has. It becomes more of a job for everyone, but on these small movies, you're making them because you want to make them. You're there because you want to do it. When you make a small movie, the one thing you have is that everyone is unified. That's what you need. You want everybody to want to be there and be a part of the project. If you can cultivate that, everyone works hard for it.

In 1968 the Arts Council managed to get a grant from the treasury to buy up a lot of derelict touring theatres and put them back in the hands of the local authorities.

A conventional playwright tries to tell you more about the characters than they know about themselves.

I don't believe in right-angled turning points.