I'm Developing The Stuff All The Time.

The Problem With The British Film Industry Is The Nervousness And Insecurity About - And Genuflection Toward - Los Angeles.

The Whole Thing About Making Films In An Organic Film On Location Is That It's Not All About Characters, Relationships And Themes, It's Also About Place And The Poetry Of Place. It's About The Spirit Of What You Find, The Accidents Of What You Stumble Across.

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've Walked Out Of Films. But For Every Film I've Ever Walked Out Of, I've Probably Walked Out Of 500 Plays.

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.