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

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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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Well, I think just the fact that you are making your first film is a huge step.
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The danger is that if you have a bunch of ideas that you forget to use.
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It made me feel very old, really, because it wasn’t eccentric for its own sake, it was just very original.
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I think that there are points where you become so close to an actor,
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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.
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Well, Brief Encounter is certainly one of my top five favorites of all time.
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I wanted to make a movie about the arbitrary nature of love.
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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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I’ve always been interested in films where you can identify with the actors.
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I looked at Brief Encounter very closely, to be honest.
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Especially living in the South of France.
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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.
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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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I think you get better at staring into space.
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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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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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I was speaking to Ridley Scott the other day and he makes a film every 18 months. He’s amazing really.
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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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The interesting thing was that next I tried a film called Star Man, which Michael Douglas was producing.
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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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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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It’s the sort of subject that always interests me: jealousy and the language of suspicion and guilt. I think it interests people.
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What I think is interesting is that the more you do.
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If you are prepared to make a fool of yourself for them then you usually get that back.
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