I Always Think, When There's

I Made This Film 'the Beach,' Which Didn't Take Place In A City, And It Didn't Really Suit Me.

We're Trying To Learn From [olympic] Beijing, Which Could Be Very Intimidating. We've Learned To Expect It's Power, It Majesty And That It Completes A Cycle Of Certain Types Of Shows... I Don't Think Any Nation Could Do Anything On That Scale. We Haven't Got That Money, And I Don't Think Anybody Would Have The Appetite For That Kind Of Expenditure And That Kind Of Control, So We're Going To Try And Do Something A Bit More Intimate And Try And Start Again... Start A New Cycle For These Kind Of Ceremonies.

Even Though One Of Them Is About An Edinburgh Junkie And Ones A Little Boy Of Eight In Manchester, You Want Them To Always Portray Their World In Such A Vivid Way That The Audience Can Disappear Inside The Story.

Basically, Actors Arrive In A Bubble. They Have A Little Sealed Bubble Around Them And It's Basically [comprised Of] Their Agents, Their Last Film, Their Next Film, Their Press Agent, And Their Per Diems - All These Things, They Cocoon Themselves With And You Have To Puncture That Bubble On Each Of Them To Make Them Be In Your Film.

The Most Extraordinary Thing, You'd Be Given Permission For, And Then The Weirdest, Simplest Things, You Just Wouldn't Be Able To Obtain Permissions. And It Would Go On And On And On Forever And Ever, And There Was No Way To Know. You Have To Kind Of Approach It With An Open, Quite Optimistic Mind, No Matter What's Thrown At You, Because It Will Only Ever Result In Damaging The Film If You Let Any Kind Of Despondency Get To You.