I need as much of the business of making a film to be in my own workspace. It really ought to be a bit more like doing a novel, alone, at first. I'm feeling my way.

You evolve in the ways in which you are precious. When you are the director, you are also continuing to write on the floor as you go along.

Some reviewer might be out there saying, obviously Edge of Darkness didn't come off because of the script, blah blah blah, but everybody has read the script, except the journalist attacking it.

I need as much of the business of making a film to be in my own workspace. It really ought to be a bit more like doing a novel, alone, at first. I'm feeling my way.

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

I can work in London. A British journalist asked me if I had any trouble working with an English crew, as an American, and I said I might have if I was from Scotland, but I'm from Massachusetts, which is sort of Oxfordshire, but more intellectual. That's kind of unforgivable but you've got to let them have it.

I'm more from a double world where I wasn't part of anything or invested in anything, because I was Irish, and very Irish, but also the other part of my family, not that it had airs, or money, was descended from the first minister on Cape Ann in the 1620s.