The Reason My Films Work Is Because

I Hate Period Films - And There Are Plenty Of Them - Where They Say, "let's Not Do Contemporary Language Because The Audience Won't Understand It;" "let's Not Make The Girls Wear Corsets, Because It's Not Sexy" And All That Sort Of Thing. Gradually It Disintegrates Into A No Man's Land: You Don't Really Believe It's A Period Scene And It Doesn't Feel Like It's Now Because It's Not Now. You Don't Feel It's Quite Real And You Don't Believe In It.

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.

When It Comes To Thinking About How A Character Talks, There Are Literary And Language Considerations. For Actors To Be Able To Differentiate Between Themselves And The Characters They Are Playing While At The Same Time Remain In Character And Spontaneous Requires A Sophisticated Combination Of Skills And Spirit.

I Am Very Happy To Be Part Of European And World Cinema As A British Filmmaker.

What I Do Is To Collaborate With Each Actor And Work One-on-one To Create A Character. And That Is A Matter Of Huge Complexity And Is A Combination Of A Great Deal Of Discussion And A Lot Of Practical Work. It Involves A Lot Of Consideration For The Real People Out There, And All Kinds Of Sources Of Real People. The Result Is The Character. But I'm Not Supposed To Talk About What It Is We Do, Because It's Nobody's Business.