I used to say to myself, 'Well, in the old days everybody danced because they loved to dance, and there was none of this professional garbage going on about how much can you get for this or that or the other, or any of the kinds of things that insecurity can sometimes promote. Sometimes it's for the wrong reasons.'

It was not until I had graduated from college that I made a professional commitment to it. Frankly, I didn't think it wise. I was my own interior parental force, and it's very difficult to justify a profession as a dancer.

When I started thinking seriously about learning the rules of narrative, I thought, 'You've learned the rules of dancing from the ballet; what's the matter with learning the laws of theater from the people who know how to do it?'

Proust writes, he remembers, physically. He depends on his body to give him the information that will bring him to the past. His book is called 'In Search of Lost Time,' and he does it through the senses. He does it through smell. He does it through feeling. He does it through texture. It is all physically driven, that language.

I've been trying to... Having been an English literary graduate, I've been trying to avoid the idea of doing art ever since. I think the idea of art kills creativity.

I think of horror films as art, as films of confrontation. Films that make you confront aspects of your own life that are difficult to face. Just because you're making a horror film doesn't mean you can't make an artful film.

The '80s were a time of technical wonder in filmmaking; unfortunately, some colleges didn't integrate their film and theater departments - so you had actors who were afraid of the camera, and directors who couldn't talk to the actors.

The 'Best of British' is a positive thing that's bandied around, but also it's applied pressure to our country in terms of economic growth. I think we've always felt the rest of the world is so much more powerful in terms of being commercially viable, but we can take great pride in our level of creativity.