Music was a very vibrant ingredient in my life, and I originally saw my early plays as being a format for music.
The feeling of not belonging, of not being entirely worthy, of being sometimes hostage to your own sensibilities. Those things speak to me very personally.
I feel most at home in America, because everybody there is from another country.
When I became the chair of the British Film Institute, I didn't understand how much of my time would be taken up with trying to make a case for the British Film Institute: what it's for, why it exists, why it needs its money.
The only lesson to extract from any civil war is that it's pointless and futile and ugly, and that there is nothing glamorous or heroic about it. There are heroes, but the causes are never heroic.
I have always believed that there is a need for life-affirming films.
You know you lose a lot of social skills if you're a writer. You spend too long alone. And its forced me to address that.
We were outside on this movie every single day so we were hostages to the weather.
It is rather embarrassing how quickly we made the list
The Talented Mr. Ripley
My grandmother was a huge influence on me and the fact that there was this very strong, rather formidable presence of women in my life has been an enormous value.
The problem with growing up in a cafe was the cafe never closed, my parents worked every day of the year from morning to night. So it was a big menagerie of kids, business and cooking!
I don't hold with the notion that only bad books make good movies.
No studio in Hollywood wanted 'Cold Mountain.' None. No one wanted 'Ripley,' no one wanted 'The English Patient.' That tells you there isn't really an appetite for ambitious movie-making out there.
I work fitfully, in hope rather than in expectation, invent methods which last a week, and fill notebooks with tiny, illegible writing which often defies my own attempts to decipher it.