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I've told people who have just started to make a film that the one thing you might experience is this feeling that everybody is conspiring against you, because you're not necessarily able to tell what's real and what's not.

The ethos of most films is that you make a film, you exploit the community, you exploit the environment, and it's OK because you made a great film, you know?

Sometimes miraculous films come into being, made by people you've never heard of, starring unknown faces, blindsiding you with creative genius.

I dread to be compared to all these directors who have a lot of spontaneous emoting and swearing in their films - that is death; it's a cul-de-sac. It doesn't lift the material at all. It's just a cliched reproduction of what we think is normal behaviour.

When you make an exploitation film, you always want to have a real issue. That's how they were always done.

When I stopped making films, they were getting on to the more realistic films and the explicit films and all. They were depicting life as it is, and some of it was unpleasant. I gradually moved away from that.

I think I've had pretty good experiences for the most part with the people who have directed my screenplays.

You're basically the sum of all the experiences you've ever had, and they're sort of shaken up in you and reproduced in the things you create, and that includes seeing movies.

As a filmmaker, you put the film out there, and you just want it to be okay. You don't want to let people down; you don't want to embarrass yourself.