Given The Events Of Even The 19th

The Whole Thing About Making Films In An Organic Film On Location Is That It's Not All About Characters, Relationships And Themes, It's Also About Place And The Poetry Of Place. It's About The Spirit Of What You Find, The Accidents Of What You Stumble Across.

Very Occasionally I Hire An Actor And Get It Wrong. The Actor Just Doesn't Trust The Process Or Me As Fully As I Thought They Would. In This Case, You Can Be Quite Sure That If An Actor Is Untrusting, It's Got Nothing To Do With Me Or The Process.

As A General Habit And General Tendency, I Prefer Not To Bog A Piece Down With A Great Number Of Transitory, Contemporary References, Because In The End, I'm Concerned, Not In An Abstract Way, But An Actual Way, With Creating A World Which Has A Universality To It - Even Though What Goes On Is Made Up Of Texture And Detail, Contemporary Detail.

You Will Find Hardly Any Improvising On Camera Anywhere In My Films. It's Very Structured, But It's All Worked Out From Elaborate Improvisations Over A Long Period, As You Know.

I Can't Negotiate And Collaborate With A Character To Create A Distilled Dramatic Investigation Of The Raw Material. I Need To Work With An Actor. That Stuff About Actors Who Stay In Character All The Time Is Nonsense.