It Creeps Up On You And Becomes

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.

He's [constable] A Great Painter As Far As It Goes, But I Don't Think He's Remotely Interesting. Not Really. It's Very Pretty And It's Very Thorough, But It's Not Evocative, It's Not Dramatic, It Doesn't Do What Beethoven Does - It Doesn't Shake You Down To The Roots Of Your Soul, Which Turner Does. Constable Is Just Very Nice, Basically. And Moving On To Personality, Constable Was A Very Dull Character.

I Think The Camera Has Got To Be Motivated. You Can't Have Things Arrived At Gratuitously. Everything Has To Have An Organic Function, But The More Comfortable I've Become And The More Imaginative And Sophisticated And The More Exploratory I've Become At The Medium, The More I've Subtly Deviated Away From That In Various Ways.

Given The Events Of Even The 19th Century, Zionism Was Inevitable. Given The Events Of The 20th Century, Israel Was Inevitable.

Given The Choice Of Hollywood Or Poking Steel Pins In My Eyes, I'd Prefer Steel Pins.