“And the very real danger is that if your book of rules becomes a book of cliches.”

You know them so well, almost as well or better than their spouse. You have to know them, warts and all.

The challenge, really, on any new film is to try to avoid that and achieve a few moments that aren’t cliche.

Especially living in the South of France.

Where you can be in their shoes and therefore be more involved if they’re people that you recognize.

It’s the sort of subject that always interests me: jealousy and the language of suspicion and guilt. I think it interests people.

Always, with any movie that I do, I have a book of ideas that I’ve heard, or seen, or whatever, and I always try to incorporate it in the film.

Well, I think just the fact that you are making your first film is a huge step.

You have to invent a book of rules of what you can do and what you can’t do.

I looked at Brief Encounter very closely, to be honest.

I’ve always been interested in films where you can identify with the actors.

I was watching Monster’s Ball, which is a fabulous movie. It’s just a little gem: beautifully shot, and shot in a way I never would have done.

Their every instinct – and I have to say this is without exception – is to iron out the bumps, and It’s always the bumps that are the most interesting stuff.

Foxes was a movie that didn’t do a lot of business but it didn’t do too badly critically and eventually they offered me other things.

I think that there are points where you become so close to an actor,

The interesting thing was that next I tried a film called Star Man, which Michael Douglas was producing.

Somebody said that I’m a bit like a sponge, grabbing things here and there, soaking stuff up. [As a director] you have to be, really.

Our rule with cliches is to either gently acknowledge them and make fun of them, or do something else.