It's An Unhealthy Habit To

Because Of The Way That I Work With The Actors And Because A Scene Is Not In This Rigid And Literal Interpretation Of Something Written, I Can Constantly Change Stuff, Which Means I Can Get A Scene Absolutely Perfect, And Then When We Go To Shoot It, The Requirements Of The Shot Mean It Would Be Useful To Extend The Dialogue Or Take A Line Out Or Swap Things Around. So The Camera Doesn't Serve The Action. The Action Serves The Camera. That's Important. So It Becomes More And More Organic And Integrated.

People Have Been Very Resistant To Giving Me More Than The Standard Amount Of Money. So I Keep Making Films On A Similar Scale. Which Is Fine, But Also Frustrating.

I'm Old Enough To Have Friends And Contemporaries Who Have Long Since Retired, And That's Their Prerogative - Enough Is Enough; It Doesn't Mean A Thing To Me. But I Haven't Got Any Money, So, You Know, I Just Keep On Working.

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.

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.