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I've sort of escaped my background, as people often do, through art and culture.
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Although computer chips now are thinner, they're more powerful, they're not as reliable. You'd harvest computer chips from the 1980s from all around the world because they're reliable.
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I like action movies, even though I think action movies are kind of derided now. But there is something extraordinary about action movies, which is absolutely linked to the invention of cinema and what cinema is and why we love it.
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I always say to anybody who's going over to America for the first time, 'Whatever you do, go and see a popular mainstream film with a big audience.' Because people shout out. You never get that in Britain. Everybody's so quiet, scared to laugh. It's like being in church.
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I'd love to do a modern-day musical that's full of original music. To get your contemporaries to sing and dance without looking foolish and for it to be transformational and magical and all those things a musical is supposed to be.
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You can have great sequences with music, but if you don't have the acting you're bored after 15 minutes. Or not bored, but you're like, 'So what?'
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I tend to score with songs from Western pop music.
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For us, destiny always feels... if you obey, it's almost a passive thing.
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I kind of call myself an atheist, I suppose - although quite a spiritual atheist, I hope.
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I love huge movies. Not sure I am the guy to make them, but you can rely on me being there watching them.
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Actors want to impress at the beginning, so you take advantage of that by suddenly saying, 'Right, you're here for two weeks.' What you're doing is creating a siege mentality.
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If you love a book you tend not to follow its surface value, you follow the other things in it.
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To be a film-maker, you have to lead. You have to be psychotic in your desire to do something. People always like the easy route. You have to push very hard to get something unusual, something different.
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Movies about space raise those questions of what we're doing here, and that inevitably introduces a spiritual dimension.
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I am a sci-fi fan.
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I haven't got anything against films that are about the minutia of relationships or customs, but I love extremes.
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One of Dickens' biggest influences was the growth of London as a Victorian city, and the extremes being created as it expanded.
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It's a good place when all you have is hope and not expectations.
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Always changing genres, making very different films is a good idea. It's a way of making yourself feel vulnerable again, getting back to that innocence. As is working within a circumspect budget.
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Originally I'm a big pop-music aficionado, that's my love.
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Both of my sisters have been teachers and they used to say you get asked between 300 and 600 questions every day which you have to answer. That's exactly what directing is. And the vast majority of those questions are not very interesting really, but they need somebody to make a decision - a good one or a bad one - and they follow it.
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It's not so much what you learn about Mumbai, it's what you learn about yourself, really. It's a funny old hippie thing, but it's true as well. You find out a lot about yourself and your tolerance, and about your inclusiveness.
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If you have to be persuaded about something, you shouldn't do it.
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I have this theory that your first film is always your best film in some way. I always try to get back to that moment when you're not relying on things you've done before.