It's An Unhealthy Habit To Say That

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.

But Actually I Make Films That I Think Are Extremely Sophisticated And Cinematic.

The Good Thing From My Perspective Is That Nobody Puts Any Pressure On Me To Say What It's Going To Be. The Backers Accept That They Don't Know What They Are Going To Get.

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.

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.