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Very broadly speaking, you can put directors into two areas: One for whom you work, and the other with whom you work. And I prefer the latter, for obvious reasons.

John Hurt

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John Hurt
Age: 77 †
Born: 1940
Born: January 22
Died: 2017
Died: January 27
Actor
Character Actor
Explorer
Film Actor
Stage Actor
Television Actor
Voice Actor
John Vincent Hurt
Sir John Vincent Hurt
Sir John Hurt
Areas
Directors
Broadly
Two
Latter
Reason
Prefer
Work
Speaking
Reasons
Obvious

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I find it difficult to say, like which child do you prefer the most, and its a sort of surface choice. I've never known how to quite answer that one adequately.
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Anything which retains interest is optimistic. When the characters become disinterested, it's pessimistic. Does that make sense?
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I find myself more interested in producing. Not because I'm interested in the financial side of it, but just getting together the right elements to make a film, that side of production. I would not be good on the financial side. It would be a disaster from the beginning.
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If I hadn't been a part of [Harry Potter] I would have been deeply upset.
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I think you can get better in mathematics on a school level, but when you're talking about being a mathematician, I think that's definitely a gift of genes or whatever.
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I loathed school. I don't have an academic mind, and besides I was so bored by my teachers! How teachers can take a child's inventiveness and say yes, yes, in that pontifical way of theirs, and smother everything!
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I don't like no confusion.
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I've done lots of films with first directors, so it's not unusual for me.
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The clergy is in the same business as actors, just a different department.
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The first film is everything you want to say and how you want to say it. Lots of directors will do that and do it really well, but the second film is not so easy.
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We shot ['Sailcloth'] five days down in Cornwall, and you couldn't have asked for a more beautiful place. It was a couple of tough days at sea, but when I say tough it was still enjoyable.
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I have lots of favourite memories but I can't say that I have a favourite film.
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I've spent a great deal of my life doing independent film, and that is partly because the subject matter interests me and partly because that is the basis of the film industry. That's where the film-makers come from, it's where they start and sometimes its where they should have stayed.
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It's a great relief to feel that you're working with someone rather than for someone. You don't feel that you're being tested, as it were.
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The British tradition, basically, is to go to the character. And the Hollywood tradition, shall we say, is basically to take the character to the performer.
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My fathers a clergyman, and he was in the mission field for a certain amount of time in British Honduras, which is now Belize.
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Films don't take as long as people think. 'Harry Potter,' people always used to say, 'Well, my God, do you ever get any time to yourself?' I think I did, in 'Harry Potter,' over a 12 year period I did five days. So it's not exactly exhausting.
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I left drama school and went straight into a 10-week film for which I was paid £75 I might say, which for 1962 was one heck of a lot of money.
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In anything really, it's finding the reality. You can't be 'real,' but you can create a reality. And that created reality is what the audience believes in. And that's essential. Because if the audience doesn't believe that, they're never going to trust you. And if they don't trust you, you can't lead them up the mountain.
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Life is full of ironies and paradoxes.
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