It's An Unhealthy Habit To Say That

Because Of The Way That I Work With The Actors And Because A Scene Is Not In This Rigid And Literal Interpretation Of Something Written, I Can Constantly Change Stuff, Which Means I Can Get A Scene Absolutely Perfect, And Then When We Go To Shoot It, The Requirements Of The Shot Mean It Would Be Useful To Extend The Dialogue Or Take A Line Out Or Swap Things Around. So The Camera Doesn't Serve The Action. The Action Serves The Camera. That's Important. So It Becomes More And More Organic And Integrated.

If I'm Ever Working On A Set And Anyone Talks About A Master Shot, I Say There Is No Master Shot. Before I Even Went To Film School, I Learned About Movies By Being In A British Feature Film, Where Everything Was Shot Master Shot, Mid-shot, Close-up. But I Reject The Idea Of A Master Shot. You Don't Shoot Everything Mechanically; You Find Imaginative Ways That Serve The Action.

I Have To Get Out Of Bed Every Day To Make Something Happen.

I Feel Very Much Ideologically, Politically If You Like, And Emotionally Part Of The European Cinema.

In The First Place, I'm Pretty Thorough About Whom I Choose. I Instinctively Look For The Kind Of Actor Who Is Going To Be Trusting. There Are All Kinds Of Insecure People Out There Called Actors.