Films Are Made All Over The World

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.

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.

There's A Constant Drip And Trickle Of Life That Goes Into One's Awareness Really And Consciousness Of Things.

I Grew Up Looking At... Going To The Movies A Lot, As Much As They'd Let You. I Grew Up In Manchester In The North Of England In The '40s And '50s. I Saw A Lot Of Movies. They Were All Hollywood And British Movies. I Didn't See A Film That Wasn't In English Until I Was 17 When I Went To London To Be A Student.

The Main Problem Is That The Hollywood System Has Already Made The Film Before The Director Shoots A Single Frame.