[action's] A Western Thing. We Think Of

If It's A Modern-day Story Dealing With Certain Ethnic Groups, I Think I Could Open Up Certain Scenes For Improvisation, While Staying Within The Structure Of The Script.

People Say You Should Do It This Way, Someone Else Suggests That, Yes, There's Financing, But Maybe You Should Use This Actor. And There Are The Threats, At The End - If You Don't Do It This Way, You'll Lose Your Box Office; If You Don't Do It That Way, You'll Never Get Financed Again... 35, 40 Years Of This, You Get Beat Up.

You Have To Remain Strong. That's The Kind Of Filmmaker I Want To Encourage. Orson Welles Was The One Who Said, You Know, You Can Learn Anything You Need To Know About Filmmaking- That's Camera, Sound, Celluloid, Video At This Point- In Four Hours. It Has Nothing To Do With Anything. It Has Nothing To Do With It... It Has To Do With What You Want To Say. If You Feel You Have Something To Say, You'll Find That Way To Get It Said, On Film, And Not Let Anyone Or Anything Chip Away At That Or Tarnish It, Because It's Something Special And Precious.

You Have To Put Yourself In A Situation, A Lifestyle, That Makes You Do The Work. Even If It's A Monastery.

For Me, The Key Image Is The Boat Coming Through The Fog At The Beginning. It's Something I Imagined And Liked And I Guess There Are Other References In Other Films I Make - The Similar Type Of Image. But I Think It's Interesting, It's Breaking Through The Mystery, Or Maybe It Stays In The Fog... We Don't Really Know. Where Is He At The Beginning Of The Film, Who Is He?