By the time someone gave me some samples of standard screenplays I was already beyond that stuff, because I was not only a tinkerer in ways to do things, I'd started from Dylan Thomas. As a screen dramatist he was a very intense visualist, with great timing and fluency.

If TV seems improved, I think it's been enhanced by violence and sex permissible on cable, as well as better cinematography, but in the end it's really only soap operas like your grandmother's afternoon "stories" and that's all it wants to be or has to be.

I think the only real referent for anybody writing drama is probably Hamlet. You have the most extreme tragic drama, this sort of blood-boltered thing, but it's also very funny, which is simply a matter of the playwright being alive and observant and entertaining, and understanding not only the world but what will play.

The novel may be dead as a commercial form. When art forms things die as commercial forms, something happens to the practice of those arts that isn't very pleasant. It used to be that a poet like Tennyson could keep his house and his coach-and-four and his staff of six servants on the income from poetry. That doesn't happen anymore.

When they see you get what you want and move on, quickly, you've done a contract with the crew from that point. In Britain if the sparks call you Guv on day two, you never need an award of any other kind.

I don't move until an actor is happy, but it was very important to me as a so-called "first time director" to keep the machine moving. It was especially important to me to keep it moving and not be some kind of precious writer-director.

I have a lot of stuff that I never published because I always had a sense that novels were not finally going to be the way I made my living, because the form was dying commercially.