I Take No Notice Of

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.

The Way An Actor Is Trained Doesn't Ultimately Have Much Bearing On My Work. I'm Interested In The Actor As Artist.

But Actually I Make Films That I Think Are Extremely Sophisticated And Cinematic.

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

I Do Not Make Films Which Are Prescriptive, And I Do Not Make Films That Are Conclusive. You Do Not Walk Out Of My Films With A Clear Feeling About What Is Right And Wrong. They're Ambivalent. You Walk Away With Work To Do. My Films Are A Sort Of Investigation. They Ask Questions . . .. Sometimes I Hear That Some [hollywood] Studio Is Interested In Me. Then They Discover That This Is The Guy Who Works With No Script, That There Is No Casting Discussion, No Interference, That I Have The Final Cut, And That Does It.