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“I'm sure favorite moments in movies are things that just happen accidentally when the camera is there. You have to do all the homework to get yourself into the period, the costumes, the style, the voice, the hairdo or whatever it is, but once you've done all that work, you have to kind of let it go and just be there. If you're always thinking about it, it just looks a bit over-thought.”

“I am quite happy that the Beatles came and went. There is even a sort of glory in not having it go on forever. There is a complete body of work that went from A to Z and it is all pretty damn good stuff. The one thing I am particularly proud of is that nearly every single bit of it has some good message. I feel fortunate when I look back. Life is not easy, but I've been very lucky - and I'm touching wood as I say that.”

“I am quite international. My background, born in Turkey. My family is a Jewish family from Iran, so I went from Turkey to Iran to Israel, and then grew up in Italy and ended up in U.S. for graduate school. So I tend to look at things from an international perspective, and I think that gives you a little bit of a broader view of what's going on.”

“It is curious, isn't it, that things you know well never look dirty and dilapidated-other people's old furniture looks shabby and moth-eaten. “I would never have that horrible old couch in my room,” you say. But your own old couch is every bit as bad and you are not disgusted with its appearance; it is your friend, you see, and you remember it when it was new and smart. Friends that you have known for a long time and love very dearly never seem to grow old.”

“I wonder whether my bleak-o-meter is set differently from other people's. I have such passion for what I do that I can't see it as bleak. When people use that word, or “grim” or “gritty,” I just think, “Oh, come on, look a bit deeper.” My films don't give you an easy ride. I can see that. The sense I get is that people have quite a physical experience with them. They feel afterwards that they've really been through something.”

“I never felt pretty. I don't feel pretty now. I'm not a pretty person. I don't like pretty. So I don't feel badly. And I think it worked out well, because I found that all the girls I know who got by on their looks, as time went on and they faded, they were nothing. And they were very disappointed. When you're somebody like myself, in order to get around and be attractive, you have to develop something, you have to learn something, you have to do something. So you become a bit more interesting.”

“You consciously look after yourself, whatever that may be to you, whether it's going out for a few drinks and a bit of dinner, or just hitting the couch and watching TV, or going to the gym or yoga class. Just being aware that there's a potential for you to be in it and respecting wherever you find yourself is good enough.”

“Theatre is organic, film is not. Theatre you come every day and you work with a group of people and you're are all up for it and you all get to do the whole thing every night, be it two hours or three hours. In film you work in two or three minute bits and it's never in chronological order and then someone takes that away and makes it look like it all happened, or that you gave that performance.”

“The only way to be turned off to being famous is to be famous. And I only have like a tiny, tiny bit of that, and I'm already disgusted by it. But I realize that the only way to be disgusted by fame is to be famous, because otherwise it looks amazing. Then people stop you on the street, and it's like the most annoying thing in the world. The first time it happened it's great, and then the second time you have to shake somebody's hand.”

“When I am getting ready to cross a street, I look both ways before crossing. My bones, my muscles, are not what they used to be, so I am careful when I go up and down stairs, because I've heard stories of older people falling and having very disabling injuries. I have enough things that begin to go a little bit wrong as I get a little bit older.”

“There are moments when it's unbelievable how people who work on the hair or on the little bit of skin here, they have no other care or interest since this part of their job is the only thing that needs to look good. So you have to push everybody to the side so that you can have a connection with your actor and give some air to your actor.”

“I think working with actors is a little bit how a chef would work with a potato or a piece of meat. You have to kind of have a look at the potato or the piece of meat and see what kind of possibilities are in the ingredient. I know I'm using the wrong metaphor. I think my job is to see what potato is there and from there, just work under their conditions.”

“I remember how difficult it was to perform certain operations on gelatine prints. A few weeks ago I asked my gelatine printer at Picto, "Can you make just the shadows a little bit brighter?" He gave me a very strange look because in Photoshop you just turn a button, and we're used to that now, but it is totally impossible in gelatine silver printing.”