It creeps up on you and becomes an obsession. It comes out of watching a million movies.

The whole thing about making films in an organic film on location is that it's not all about characters, relationships and themes, it's also about place and the poetry of place. It's about the spirit of what you find, the accidents of what you stumble across.

There's a constant drip and trickle of life that goes into one's awareness really and consciousness of things.

Film-makers should remain true to their principles and never compromise, there is a real revival in the British film industry but there is a danger that we will become colonial servants of Hollywood. We need to maintain our own integrity.

The good thing from my perspective is that nobody puts any pressure on me to say what it's going to be. The backers accept that they don't know what they are going to get.

It creeps up on you and becomes an obsession. It comes out of watching a million movies.

But actually I make films that I think are extremely sophisticated and cinematic.

But films should be voyeuristic. What else is a film if you're not snooping into somebody else's lives?

Given the choice of Hollywood or poking steel pins in my eyes, I'd prefer steel pins.

Given the events of even the 19th century, Zionism was inevitable. Given the events of the 20th century, Israel was inevitable.

I feel very much ideologically, politically if you like, and emotionally part of the European cinema.

I mean, artistic processes are all about making choices all the time, and the very act of making a choice is the distilling down and the getting to the core of what it is that you care about and what you want to say, really.

I think Michael Caine is a perfectly good actor but it's obvious he's not going to be in one of my films.

I think it's important that nobody forgets that although Hollywood commercially dominates the world cinema, in fact what comes out of the filmmaking here is only a tiny slice out of the massive amount of operation that goes on around the world.

I try and create for the audience something that relates to real-life experience.

I'm developing the stuff all the time. There's a film in my head. I'm imagining a film.

I'm old enough to have friends and contemporaries who have long since retired, and that's their prerogative - enough is enough; it doesn't mean a thing to me. But I haven't got any money, so, you know, I just keep on working.

I've long since stopped worrying about how I'm portrayed in the press because ultimately it's not that important. Everyone who knows me knows I do what I do with the greatest integrity.

I've walked out of films. But for every film I've ever walked out of, I've probably walked out of 500 plays.

It's an unhealthy habit to say that life is what you make of it, and if you want to be happy, then you can be happy. That's just rubbish, basically.

Life is about luck and it's about circumstances and socioeconomic conditions and all the rest of it, but you know, you can also make choices. It's about spirit and generosity and all the other things, too.

My work is about life as you and I experience it. You're either lucky or you're not lucky; either your relationship works or it doesn't.

My work requires acting at its most committed - it demands actors of enormous resilience, but also intelligence and wit. It doesn't work for narcissistic or selfish actors.

There are plenty of bad actors and there are plenty of bad directors. There are actors who will always be bad and there are good actors who you cry for because they're being badly directed or the material isn't good enough.

You will find hardly any improvising on camera anywhere in my films. It's very structured, but it's all worked out from elaborate improvisations over a long period, as you know.

We're gonna try and bring on all the different aspects of horror movie making and bring on guests and show all these old '50's B movies. Not the real corny ones, the real cool ones.

The thing is there have been American movies that are similar to Solaris, like Alien had a lot of things that are similar, although it's also got the horror element.

My mom took me to see Carnal Knowledge and The Wild Bunch and all these kind of movies when I was a kid.

Awards were made in Hollywood, in whatever the time it was created. They're to promote each other's movies. You give me an award, I give you an award and people will believe that we are great movies and they'll go to see them. It's still the same.

In a theater, the part is mine and I can control it as I want to. In the movies, I don't have direct contact, and I am fighting technical machinery.

I couldn't be happier about being a part of 'Hunger Games' and to play Katniss. I have a huge responsibility to the fans of this incredible book and I don't take it lightly. I will give everything I have to these movies and to this role to make it worthy of Suzanne Collins' masterpiece.

I enjoy about 1 out of 100 movies, it's about the same proportion to books published that I care to read.

Sure, 'Twilight' is really huge right now and everybody's freaking out over it, but it will go away soon and I will be back to doing what I'm used to doing: weird little movies that nobody sees.

There are many kinds of movies in Hong Kong. Some are commercial and others are more artistic.

Making movies is eating candy. It's a very expensive candy, so you value when you can do it. So when you can do it twice at once, it's like, you know, a kid in a candy store!

It just proves good movies don't need 100 million dollars to be good.

In the past I've made movies that were pretty universally liked. You can't really hate them. You can discard them, but you can't really hate them.

I grew up wanting to make movies, and along the way I suddenly found that I had a career doing comedy.

When I go to movies I generally want to be taken to another world.

There were not fifteen people in the story department and twenty-five producers and stuff. And Roger had produced 1,000 movies and directed a couple of hundred, and their comments were always very, very specific.

You can make movies for a select audience, but you have to market it to them.You can make movies for a select audience, but you have to market it to them.

Well, it was actually - I brought the idea of doing a documentary to HBO back in 2000, when there were some press reports sort of were bandied about that there were going to TV movies based on some of the books that were out.

I don't think any actor feels comfortable watching themselves in movies. You must be very narcissistic. The problem with your own opinion of yourself is that contrary to the normal spectators, when you watch a film you are in, you only watch yourself.

Racing Stripes was so much fun to do. It's one of the funniest movies I've seen in a couple years.

I think the audience would like to see movies that are stunning to watch. I really think they'd like to see spectacles.

I feel like I'm a fighter. I've fought my whole life to get to where I'm at. I like fight movies. When someone gets knocked down, I like to root for him to succeed.

After the war, there was no industry. We lost the war. We had our whole city destroyed. No money. No studio. No film. No camera. No equipment. We would shoot in the street. We had no actors. Nothing. But we wanted to do movies. And we did the best movies in the world.

Star Wars, the original movie, was all the various old genre of pictures: the swashbucklers, the war movies, all those things were put n there in a different look.

That is why it's so fun to make movies... you get to do lots of things you would never do in your normal life.