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I think that those are the things that you can uniquely do with film that are difficult to do anywhere else: they can bring a picture to life, give it a natural and historical context and make you feel that everything else is suddenly credible.

You have a soft spot in your heart for each movie, and you're doing certain things. You're learning as you're going, as a director, and each movie is its own entity.

People are mistaken to view cinema as some sort of gimmick. It's very much ingrained in the ways in which we understand each other.

There comes a point in your moviegoing life where you look at the screen and then you look at the world and you ask, 'What is going on?' You want the movies to show you the chaos and mess and risk and failure that are normal for a lot of us. Generally, the movies hide all of that.

It's rare that movies can sort of capture the tone of life; movies always feel like they have to be one thing or another.

I really ought to try and make a film that's a bit more cynical. But I don't think I'd know how to do it. I think what it is, is that if you're a film director, you're basically there because you enjoy manipulating people's emotions.

Sometimes films ignore other points of view because it's simpler to tell the story that way, but the more genuine and sympathetic you are to different points of view and situations, the more real the story is.

Filmmakers have to really find a unique take on something if they're going to explore an already-explored genre of movies.

My films are very rooted in specific people's point of view. Some film-makers give a more global point of view, like God looking down at the characters.

Every filmmaker imbues a movie with their own point of view.