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Every time I make a film, I feel it gives me the chance to learn something new.

I couldn't be a cameraman or a designer or an actor - I have to be a director because I learned how to do that from my dad.

Generally, I've never known quite how to fit in in civilian life, but on set, making a film, I know exactly where to go, how to behave and how I fit.

I've been lucky over the past few years. Things have just happened for me.

I think my dyslexia was a vital part of my development because my inability to read and write meant that I had to find knowledge elsewhere so I looked to the cinema.

Fairy tales to me are never happy, sweet stories. They're moral stories about overcoming the dark side and the bad.

I find it ironic that happy endings now are called fairytale endings because there's nothing happy about most fairytale endings.

I feel more in touch with the world when I'm filming.

'Pride' is my first film with a happy ending. Before, I naively thought they were a cop-out, but now I've come to believe that happy endings and wish fulfilment are an incredibly important part of our cultural life.

My father was 65 when I was born so we didn't have much time together.

Most of my choices come about through some kind of intuition or instinct, and if I need to, I'll post-rationalize them, intellectually, afterwards. But generally, they come about just by feeling.

I see the job of directing as being one of creating the right atmosphere, creating an environment where people can realize their full potential.

I like the idea of doing something outside my comfort zone.

I wouldn't presume to know something, but I have lots to learn and that's what I attempt to do through my work.

There's good art and there's bad art. A lot of action films are bad art, but Paul Greengrass showed us with the Bourne films that it's possible to make an action film with a political, social conscience.

I don't make a division between an art film and commercial art.

An artist needs to live to create, and to live means to suffer.

I've made some films that were very much image based: 'Anna Karenina' and 'Pan,' for instance.

A lot of directors don't really like actors.

Most actors hate the feeling of being handled.

I was once called a hack, and when you put as much emotion into a piece of work as I do, to be called a hack is really heartbreaking.

'Blue Velvet' changed my life forever. It was like I'd always read Chaucer and suddenly discovered Charles Bukowski. It made me understand that there is poetry of sublime ecstasy and dark terror, and it spoke to a side of me that hadn't been reached before.

When I left college, I though that I would be immediately embraced by the film world and instead found myself sitting in a squat for three years not knowing what to do with my life.

I'd like to make the film of Sam Selvon's book 'The Lonely Londoners.'

I kind of muddled through 'Pride & Prejudice,' but with 'Atonement,' I knew what I was doing. That makes it sound like I had no doubt. I had doubts - I didn't know whether it would work. But I knew exactly what I wanted to try to do.

I had a breakdown after making 'Atonement.'

American actors are very different to British actors who have generally studied and been brought up culturally with the sense that the writer is the star and that their job is to serve the writing. Whereas Hollywood actors are brought up to believe that the actor is the star, and everything and everybody is in the service of them.

'Hanna' was nice. It was Saoirse Ronan's idea. Usually, the director casts the actor, but in this case, the actor cast the director.

Film has become a very passive experience, but with theatre, there is a contract made with the audience, where they participate. That's why my parents' puppet theatre was such a special place - people used their imaginations. It's a muscle that needs using.

I find man's inhumanity to man extraordinary,,, I can't get my head around it.

I fell in love with film and its potential. The idea of putting one image next to another image and creating meaning blew my mind.

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