Pastoral Resources

But I think that the spirit of protectionism would be the grave of European cinema. You cannot protect something by building a fence around it and thinking that this will help it survive.

During the Sixties, the Americans thought I was the greatest thing in the history of cinema.

I really love sort of classical cinema where people were telling stories with very little dialogue, and people were using the camera in a really interesting way.

There's still a 1950s view of cinema, that there's one audience and they all want to see the same thing.

I think people need to understand that with plays and with cinema, when you hear about it, call and get a ticket then or go and see it then. It's especially with the play, which I can do because it's a limited run.

I happen to love working in cinema, but the theater is always there... you know, and I would never shut the door on it. Even though it's been quite a bit of time since I've done a play, last one was in New York.

China's cinema has been rising for some time; it has more exposure, so my chances of becoming internationally known are better. But the first thing I have to do is learn English. If I can grasp the language, then perhaps I can think about the U.S.