It is extremely difficult to get movies that cost more than $40 million to be made these days.

The most difficult thing is the organization of people and the expression of your intentions. It's very easy to have a picture in your head and to imagine that you've told everybody about what you need.

It's nice to work with Hollywood because there is never any question of resources put at your disposal to make a film as long as it is the right thing to do.

Well, if you're talking about the current climate, there's a lack of content in American film because I think people are deeply confused about their emotions, and they don't regret certain aspects of their own foreign policy.

I can't do a film if I don't start with the writing.

When you've written a movie, you then get together with a whole lot of people and make it. In many ways, I think it is far nicer to be with people rather than being completely solitary.

For me now, it's about what you would write and what you wouldn't write, and that's how I select what I am going to do. It can be quite nice being brought a concept by a studio for me to work on.

There's no point in making a film out of a great book. The book's already great. What's the point?

The Company of Wolves doesn't belong in any category, so it's difficult to prepare an audience for it. It's not a horror film, it's not a fantasy film, it's not a children's film - so what is it?

It is extremely difficult to get movies that cost more than $40 million to be made these days.

The End of the Affair is almost like a play.

I'm less comfortable making American movies because I don't know them so well.

Initially with The Butcher Boy, there was this kid growing up in this strange, weird environment that I remember from when I was a kid. And Patrick's vision was so complete there.

It's the same thing in a way, although writing a book is a very solitary thing.

It's hard to know whether certain characters come to life or not, they either come to have their own life or they don't. I've written many things in which the characters just remain inert.

I've had three novels published, and I was working a little bit in theater in Ireland. I wrote one film script just to see what it would turn out like.

Well, Company of Wolves was about that literally, about fairy tales.

I took two years away from making films to write a novel.

Why should a horror film be just a horror film? To me, The Company of Wolves is a fairy tale; it's got all those elements plus a lot more. And we know that fairy tales aren't innocent any more.

Well, I suppose I'm interested in ways of storytelling and in stories that are about storytelling.

In Dreams... well, I was slightly overcompensating with that. I was a bit like a director for hire, so maybe I was putting too much imagery that was familiar to me into it.

I mean I grew up in Ireland, so one would have to be consciously blinkered not to have reflected on the issue of political violence because that was the story since I was 19 years old or 20.

Films have gotten leaner and leaner, cutting out all variations from the story line.

My conception of it was that in a normal film you have a story with different movements that program, develop, go a little bit off the trunk, come back, and end.

It's the opposite journey from what I've usually done with films. I find it very easy to go from, say, a lit, pleasurable environment, like what you see outside there, to a very dark place. But the opposite journey, which is what this movie takes, is much more complicated.

I do enjoy working with writers.

I've also worked hard portraying an Ireland which is fast disappearing. Ireland was a very depressed and difficult place in the 1980s, and I've tried to include that in the script. I worked really hard to find the heart of the book.

And I think I often choose to do something because it's quite different from what I've done before.

Never make a promise - you may have to keep it.

But everyone gets burnt, don't they? Certain things are outside of your control. I suppose the only thing you can learn as a director is to not put yourself into situations where it can get outside of your control. And that's what happened.

For me, the filmmaking has to be about the dramaturgy.

No, I just thought of a story and wrote down what I saw. It was about two kids in Ireland who went around killing people. It was called Travelers, and it was made as an independent film.

The Company of Wolves is about how society teaches young women to look at themselves, and what to be afraid of. It's about a girl learning that the world of sensuality and the unknown is not to be feared, that it's worth getting your teeth into.

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.