STEPHEN DALDRY

One of the great joys of my job is that you spend a huge amount of time investigating different areas of literature.

They're a redefinition of boredom... the most important thing you need to know about an awards show is where is the nearest smoking opportunity.

I've never been to Hollywood. I can count the number of times I've been to Los Angeles on my hands. I've never made a movie there and I've never been there for working reasons. The only reason to go there is for silly awards shows.

I would love to do something for TV... I wanna do 'Kavalier & Clay' on HBO as an eight-parter. It'll be so much better as a series, honestly.

If I wanted to work financially, I would have made a series of different choices. I do get offered lots of movies which you could make a lot of money out of. And I always say, 'Why would I do that, when someone else could do it much better than me? Why would I want to do an action picture? Why?'

Most theater methodology is predicated on the idea of repeated actions. That's what you work toward. Having the actor repeat the same moment eight times a week. In a film, it's getting that one moment right.

The truth of the matter is, every film is imperfect. It's the nature of the beast. One of the things that people ask me all the time is, what's the difference between theater and film, and one of the biggest differences is, in the theater you always get another go.

The really successful work in England tends to be working-class writers telling working-class stories. The film industry has been slow to wake up to that, for a variety of reasons. It still shocks me how few films are written or made in England about working-class life, given that those are the people who go to movies.

I have never been motivated by money in my life. You can't make choices based on what the financial return might be.

I always say, 'I really need to take a break.' It's three days in and I'm getting pretty bored.

Ring up your parents and ring up your kids and tell them that you love them.

There has been one defining production for me in each decade.

I'm not really a director for hire. You read these scripts and go, 'This is a really great script, but Paul Greengrass would make this so much better than me.' I usually say, 'I know who would be good for this. It's not me.'

I am, in fact, Superman. Every morning I wake up and go into a telephone booth and change my costume, and then go to work.

At school, I decided I wanted to be a director and then I went out and spent the rest of my adult life trying to be a director. It was really clear to me. So in that sense I was very lucky.

There are a few writers that one has a relationship with that means, basically, you do whatever they say. One is Caryl Churchill, and the other is David Hare.

I love test screenings. Some directors don't, I know. But I love it. I think it's because I come from the theatre and in the theatre, previews are where you really have to listen to the audience and really feel how they're responding. I found our test screenings incredibly useful.

When I got married, my mother was very surprised. She said: 'What on earth is going on? I thought you were gay?'

I never want to make a film. I don't wake up in the morning going, 'Ooh, I'd really love to be on set making a film today'. I'm aware that other contemporary film directors perceive film-making as what they do, as what they have to do. But I would hope that I am more catholic in my tastes.

I love changing. I hate it when people try to box me in to a relationship or in a work context. Any situation where I feel boxed in freaks me out. And I feel the need to reinvent myself or I'll get bored.

Well, there are three different processes of making a film, of course. They're sort of re-written three times. You write it to start with, and then you shoot it and you re-write it while shooting and you sort of re-write it as you edit.

I think it's absolutely fascinating that in Berlin the parliament can discuss actively the role of their soldiers in Afghanistan because is it still possible, literally, for a German soldier to take up arms.

I categorically resist this idea that films are supposed to be autobiographical and the only stories you tell are about your own life.

I spent a little time in Germany as a schoolboy learning German, and it's a country I knew very well, spent a lot of time in. I knew the history very well. I've always wanted to do a piece of work about the post-war period, of one sort or another.

Actually, to be honest, this is a useful time to not be knowing what I'll be doing in 2013 or 2014, because really, for the last however many years, I've known what I've been doing for years and years ahead. You get into a cycle of non-reflection, and that gets a bit scary.