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And we gradually — i finally whittle it down and choose the source, or usually sources, from people they know. so it means the actor has got somewhere to start, something to — like an art... like the artists, like the students looking at the subject, at the model in the life drawing class the actor has got, you know, he or she is going to start to stand up and play this person they actually know, and then that person they know, and then we meld them together and the character is created. but of course, the two famous myths about what i do with actors is, one is that the actors come with id...

To theatre or film, was the foundation course at camberwell. but it was there that i had a really seminal experience as an artist. we were all sitting around... ..and had a nude model, and everybody was quietly drawing away, and i looked around the room, and i thought, what is happening in this room is something that we never experienced for one split second at the royal academy of dramatic art. really creative work is happening, everybody in the room is looking at something that's real and finding an organic, truthful way of expressing it, which we didn't do as student actors. it was all mech...

Democracy, i think my films must be understood to be implicitly political, rather than overtly political. you once said, i'm going to quote you here, "i know "i return endlessly to the same preoccupations, but i'm not "always aware of it initially." what are those preoccupations, do you think? well, i mean, if you look at my films and plays, you know, about how we live, relationships, work, responsibility, surviving, secrets and lies, you know, the stuff of living really. class ? and class, yes. it's funny, it's interesting, i didn't put that instinctively at the top of the list, but fair doï¿...

Production of little malcolm and his struggle against the eunuchs, a play by david halliwell. you've described this experience as a life—changing experience. why? because... david halliwell, who was a close friend and a very talented guy, he's no longer with us, but he wrote the play so he could play the main character, malcolm scrawdyke. and to cut a long story short, he was impossible to direct. he'd say, "oh, a director's just a chairman." i'd say, "why don't you move over there on that...?" he'd say, "why? "i could move there, i could move anywhere." and so... at this point, i'd already....

A formative effect on your work is ronald searle, illustrator, artist, best known for creating century unions, so many books and magazines over the years, in the postwar years, how do you discover him? when i was six, somebody gave me a copy of hurrah for st trinian�*s, a collection of cartoons by ronald searle, for my birthday. that was it. the great thing about searle is that he was — apart from being a great draughtsman — he was a fantastic observer, and his style of drawing influenced my style. ifact, my handwriting, to this day, is influenced by ronald searle�*s style of handwriti...