I love editorial and sound and music, and I was working with the best people, so you learn a lot.
I think probably everybody works most on the beginning and the ending.
Whatever you cut when there's no deadline isn't really a cut. You're just pushing colors around.
As a director, you're given a tremendous apparatus to work with, and very great talents are available to you.
I need as much of the business of making a film to be in my own workspace. It really ought to be a bit more like doing a novel, alone, at first. I'm feeling my way.
As first time director, though, you're like a new officer coming up to be in charge of very serious veterans, and you're always going to have guys looking at each other for the first day until they realize you're not screwing around.
When they see you get what you want and move on, quickly, you've done a contract with the crew from that point. In Britain if the sparks call you Guv on day two, you never need an award of any other kind.
You just have to know what you want and what you're doing and it leads to a kind of general well-being, which I think you sensed when you were there.
I was always entirely about work, about getting where I am now. If I'm not working I'm thinking about it, though at some point I learned not to talk about it very much.
By the time someone gave me some samples of standard screenplays I was already beyond that stuff, because I was not only a tinkerer in ways to do things, I'd started from Dylan Thomas. As a screen dramatist he was a very intense visualist, with great timing and fluency.
