In The First Place, I'm Pretty Thorough

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.

I Know, That Trends And All Of Those Things And Formulae That Calculate What Audiences Want To See And What Audiences Don't Want To See And Various Other Demographic Demarcations Are The Eccentric And Ludicrous Prerogative Of Hollywood Studios. But Out There In The Real World - By Which I Mean The Rest Of The World Where We Make Truthful Organic Films, Independent Films Unimpeded By Interference - It's Not About All Those Sort Of Calculating What Is Commercial. It's About Wanting To Say Things And Saying Them In A Way That Will Get Through To People.

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.

I Really Think People Are Greatly Stimulated And Enriched By Experiencing In Film Just As We Can From Novels And Other Art, Experiencing Things That Resonate With What Our Lives Are About. I Think People Really Want To Know... Want To Share, Want To Have The Stimulus To Think And Care About The Way They Live Their Lives, The Way They Relate To Other People, Their Aspirations, Their Hopes, Et Cetera.

I Grew Up Looking At... Going To The Movies A Lot, As Much As They'd Let You. I Grew Up In Manchester In The North Of England In The '40s And '50s. I Saw A Lot Of Movies. They Were All Hollywood And British Movies. I Didn't See A Film That Wasn't In English Until I Was 17 When I Went To London To Be A Student.