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A film cannot make it into the culture without the support of critics.

If you have a movie that doesn't strive to go to a certain emotional point, you can do anything and it will be fine and funny. But if you have something pretty emotional at its core, you have to make it right. You don't want it overwrought or unearned. Everything has to be moving towards this one thing.

As actors, we put in our best, but when people don't like a film, you have to learn to deal with it. I've learnt not to get too emotional.

One can never anticipate how audiences will respond. One of the lessons that I've learned over the years is to that no matter what my feeling or opinion might be about a given film, once you give it to the audience, they own it.

It is also difficult to articulate the subtleties in cinema, because there aren't words or metaphors which describe many of the emotions you are attempting to evoke.

I firmly believe that emotions are universal, and I know that when they connect with the audience, it works. There is no such thing as an entertaining or a serious film; there are good films and bad films. Good films will always find a vast audience.

There's such an immediate intimacy with film that you just don't get in theater.

The audience wants to be attracted not by the critics, but by a great story. You must deliver to the audience emotion - and when I say emotion, I mean suspense, drama, love.

Film is an emotional medium; it's not a logical medium. It's not an intellectual medium, so every decision you make as a filmmaker and an actor has to be emotional in some way, even in the rejection of logic.

I prefer to make a film that people have a really intense reaction to than have a film that people feel ambivalent about.