One Of The Traditions Of

Once, A French Journalist Told Me That All My Films Are The Same. I Said, 'excuse Me? I Work Hard To Make Them Different.' What She Meant Was That In My Films There Is A Character That Faces Insurmountable Odds, And They Overcome Them. But I Thought That Might Be True, But You Need Certain Factors For Drama, And You Need To Overcome Them.

I Always Say To Anybody Who's Going Over To America For The First Time, 'whatever You Do, Go And See A Popular Mainstream Film With A Big Audience.' Because People Shout Out. You Never Get That In Britain. Everybody's So Quiet, Scared To Laugh. It's Like Being In Church.

There's Lots Of Things That Can Be Solved With Cash. And There's Occasional Things That Can't Be Solved With Cash, Which Become A Bureaucratic Nightmare For Some Reason, And There's No Distinction Between The Two. There's No Way Of Reading A Situation And Saying, "yes, That'll Be A Bureaucratic Nightmare, But That One We'll Be Able To Buy Off." It Just Depends On The Day, Apparently.

I Find My Own Pain And Others' Difficult To Tolerate, So I Always Want To Try To Shift Things So They'll Be Better. But In Doing That, If I Am Coming From A Place Of Ego, I Often Cause Harm. So It's A Struggle For Me To Set My Ego Outside And Find A Softer And More Compassionate Way Of Approaching Things.

Movies Are About Time. You Can Take That Momentum And Manipulate Time As Well, Or You Can Deliberately Slow It Down, Stop It, And Start It Again. There Is No Other Art Form That Does That Type Of Manipulation In That Way.