As a director, you're given a tremendous apparatus to work with, and very great talents are available to you.

I went into directing having observed and learned from the best. There was a certain standard of procedure. I found that I was equal to it. I thoroughly enjoyed directing, I liked it a lot. It's very satisfactory to see that you can do it. The art takes care of itself.

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

You just have to know what you want and what you're doing and it leads to a kind of general well-being, which I think you sensed when you were there.

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.

I'm not very precious at all, which I think people find surprising.

If you change a location opportunistically, to gain a day on the schedule, which I did more than once, you have to re-rig everything creatively on the spot, and you not only have to be able to do that, but do it with great fluency to keep moving. I used to go apeshit when anything got changed in a film but you live and learn, and I have learned.