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Films have become shorter in length, jumpier in style, and simpler in story so that they can be more easily transferred to once under-exploited international markets.

Fundamentally, I always find that most of the films that I've put out are essentially the director's cut. Part of the process with a director's cut is the leaving behind of certain aspects of the movie that we don't feel necessary because they aren't part of the dynamic of the story.

There's a constant dialogue going back and forth between the filmmakers and the producers.

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.

Films must all have the same structure. All of this to guarantee box office bonanza, which of course it never does, but that's another discussion entirely.

I tend to favour films that have multiple plot and story lines, multiple characters and ensemble pieces.

Films are artifice. We're telling stories on film. At the same time, when it works, there is a real tough immediacy and spontaneity to it, and a punch.

Perhaps where text slides toward ambiguity, film inclines to specificity. A novel contains as many versions of itself as it has readers, whereas a film's final cut vaporizes every other way it might have been made.

People have a different idea of how movies are made than they really are.

Every adaptation requires that the screenwriter make difficult choices - and in particular, difficult cuts.