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I was hired because I am Zsa Zsa Gabor, but when I go to work, directors try to force their methods on me. John Huston's intense, precise directions tortured me.

I worked for a lot of directors.

I directed before I was even in television; I directed in the theatre for seven years, so that was my trade anyway. But in the UK, I've given up any hope of being considered a director.

I met Alejandro Gonzalez Inarritu years ago during my college days, and I was in charge of international promotion of this movie festival he was invited to as part of the jury, and then he saw my work on a short film that was directed by a friend of mine.

We had to go on and do the work of the court and we did.

The Porto players were with me for two and a half years, they believed in me, in my methods, in the way we do it. The next day I go and a manager arrives who works completely differently.

It was an interesting experience to work alongside the solicitor general's team and then turn around and argue against them. You certainly grow as a lawyer from getting such a varied set of experiences.

My biographers... would like to have my time at the court almost complete before they finish the book. We decided... to flip the order.

In the same way that I had to follow an Italian manager here, I can imagine that it was not easy for an Italian manager to follow me at Porto.

That's the fun part about being a director. You get to say, 'Oh, now that I'm in charge, I can try and cast whoever I want.' They can always say no, but that's okay.