I'm not a precious text protector, or anything like that, you know, because it's a much more vital form than that. You have to rock.

It's interesting to think that my children know more about the process than many mature critics.

When I was a kid in London there was just something about the light and there's something about the way London went onto film in those days, whether it was Technicolor or Technicolor plus the flatness of the light, or whatever.

If you see, as I do, in edited film, you're going to end up as a director.

On historical you take the known facts, dramatize them, and then stitch them together by invention. It's a projective thing.

Getting the correct writer is simply like casting. You wouldn't hire an actor in order to tell him how to work. He knows how to work, which is why you hired him.

I think that scripts should be published, but they are published, really, because when you're a screenwriter, your stuff ends up in samizdat form on thousands and thousands of desks and shelves across the industry.