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I think you get better at staring into space.

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I think that there are points where you become so close to an actor,
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Especially living in the South of France.
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You know them so well, almost as well or better than their spouse. You have to know them, warts and all.
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I’ve always been interested in films where you can identify with the actors.
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I think you get better at staring into space.
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Well, Brief Encounter is certainly one of my top five favorites of all time.
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The danger is that if you have a bunch of ideas that you forget to use.
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Obviously, in dealing with a relationship, sexuality has to be involved, and jealousy and emotions like that. And I don’t know, I’ve always been intrigued by those emotions.
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And the very real danger is that if your book of rules becomes a book of cliches.
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The interesting thing was that next I tried a film called Star Man, which Michael Douglas was producing.
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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.
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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.
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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.
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The challenge, really, on any new film is to try to avoid that and achieve a few moments that aren’t cliche.
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You have to invent a book of rules of what you can do and what you can’t do.
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Where you can be in their shoes and therefore be more involved if they’re people that you recognize.
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