I love that perhaps we don't see the things that are there because we have no yardstick to see things by, to compare them.
You make the movie through the cinematography - it sounds quite a simple idea, but it was like a huge revelation to me.
There was a village watercolour society and they'd come and paint in my field. I watched them from the window, the way they would struggle this way and that to find the perfect moment. God has made every angle on that beautiful, and I felt that tremendously.
'Eureka' was very bad timing. The early 1980s: Reagan and Thatcher were in, greed was good, and here was a film about the richest man in the world who still couldn't be happy. Politically and sociologically, it was out of step.
I came up the old-fashioned way - tea boy, cutter, focus-puller, cinematographer - but I wasn't myself old-fashioned.
I was very glad later when I was directing that I wasn't in the hands of a cinematographer and hoping that he would do it well. I would know what he was doing, and we could discuss how that scene would look.
