Once a movie goes out into the world, it belongs to anyone who goes to see it.
I wanted to actually make people look at a painting. We don't look at paintings that much. We glance at them.
If you come out of British TV, they're kind of saying, "Here's the keys to the kingdom. You are now going to go off and become a moviemaker. If you do really well, then the world is your oyster.
I've got a very wide taste in art. I like Russian icon painters. I like Salvador Dali. It's like music. Sometimes you want to hear Led Zeppelin, and sometimes you want to hear Stravinsky. It just depends.
I seem to have emerged from the relative obscurity of TV.
It's really exciting. It's really exciting when you do a piece of work, and people like it, and it gets noticed.
I collect postage stamps. That's the only thing I can afford to collect! I hope in five years' time to say, "Yes, I specialize in Gustav Dore first editions."
My most famous drama in England is quite controversial. It's something called Men Only, and it's rather a shocking exploration of male sexuality.
I think there's a real problem if you're making a film - some people have done whether it be about Jackson Pollock or about Picasso - it's difficult for actors, because they have to impersonate a person whose image is very strong in our memories or in our consciousness. It's something that's very tricky, I think.
You tend to get a script and you push it toward being the kind of film you want to make.
I saw an awful lot of actresses, and some of them, you thought should be hospitalized. [They] should certainly eat a hamburger, for godsake.
You can't always do exactly what you want, and often compromises have to be made.
You begin to understand, as a filmmaker, that there are different ways of approaching things. Everything doesn't have to be quick cut, like MTV.
Sometimes beauty can be a trap.
I don't want people to pigeonhole me.
