T.S. Eliot, who learned to swim at the same beach as I did, just threw in the towel and moved to Cheyne Walk. I'm not going to do that but I'm not scared of the open channel between me and Britain.

I had a long writing history behind me before I got into anything in film. It comprehended science fiction, it comprehended historical, it comprehended, you know, just about everything that you can think of.

You're not turning the picture over to a system or a process, you are the process, and the most important thing is to have things exactly as you want them.

I shoot very little film. If you just do coverage you're shooting any number of potential films instead of just one, and I was shooting just one specific film. Film is cheap but time is expensive.

I wanted to do London Boulevard because I saw the potential of a story about two people who need each other desperately, who love at first sight, as one does, and above all a story in which no one is what they appear to be.

Whatever you cut when there's no deadline isn't really a cut. You're just pushing colors around.

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.