I'm not interested in a film about deceit anymore. I think I was always invested in deceit on some level. But it no longer compels me the way it did for so many years.
For me, photography is not just about exposing film, it's about exposing the viewer to something new, a place they haven't gone before, but most importantly, to people that they might be afraid of.
My way of remaining French was the financing scheme I used for Quest for Fire, with Fox funds, since it started as a 100% American production. The film was not in French and yet was French in style, reflecting my personality.
When I heard about the first Tomb Raider, I was very interested and I would have liked to have directed that. When I was approached for the second film, I was delighted.
Often, when I finish a film, I'll have that feeling inside me: 'I never want to do this ever again. I don't want to pretend anymore. I want to be myself and do that.'
Phillip Harrison was the production designer, though, I think he's uncredited. He's done most of my films like Blue Thunder. Lots and lots over the years.
Just like the VCR opened the film and TV industries to unimaginable new revenue streams, search, RSS and the Internet will do the same for marketers and media companies.
It's so easy to manipulate an audience, but it's nearly always clear that you are being manipulated. I think even people that are not critically attuned are aware of cynical manipulation in film.
'Attack The Block' is an alien invasion film set in South London. It's about a group of kids who are some petty thugs, who have to find the hero in themselves, when they attack.
No one could have predicted on day one of rehearsals, that a year and a half later we would have shot a film and all be living in New York. It was surreal.
I had this spooky psychological thing about 'The Piano' before it began, which was how everybody was going to go nuts on the set. Because a film tends to set up the way people are going to behave.
I think feature film can be quite conservative, because you have to now get audiences to come out, and it's quite a hard thing to do. Of course, television can be conservative too.
That's what film can do in a way that TV and other long-form storytelling can't. It gives you this very immersive moment.
A woman in Mexico wanted me to heal her. But I can't heal anybody. I just put my hand on her and said, 'Thank you for seeing the film.'
After a couple of attempts at making shorts, I decided to make a feature film with a friend, Tom Hall, whom I've worked with ever since.
People have said that my films are very difficult to watch, that they're experiences you are put through rather than ones you enjoy, and it's true.
Everybody doesn't get to do each and every film. I don't compete with others; I compete with myself. I have been an athlete, a sportsperson; so I know how to be competitive in a healthy way.
I don't really know how many films I've done, and I don't look at this as a race that I necessarily want to win. Nor is it a race that I want to stop running.
Arts and crafts, or getting to be in a play with people, or making a little short film, that's pure sugar, because the stakes are so low.
I think the film is beautifully realised. His legacy as a journalist was recorded - as it were - well, and certainly the important issues of the '50s - or even today - are delivered and presented to the audience in a rather honest and objective way.
When I was 16, I made some little 35mm documentaries about the poor in London. I went round Notting Hill, which was a real slum in the 1950s, shooting film.
