It's not simply that British films do well at the box office and generate revenue, it's that they provide a window to the world of what Britain and its culture is about.
I got a chance to work with so many stalwarts from British cinema. Judi Dench, of course, who is a legend. Then there was my director Stephen Frears. He is the man who made some of British cinema's salient trendsetters.
I'm a big fan of British cinema; I think we make some unbelievably brilliant films, but they can quite often have a dark feel.
I have always thought we should think less about the British film industry as an entity, and more about getting British talent working.
I don't care to analyze acting. On the other hand there is a fascination because distributors are putting out British films. You get films here with great performances you'll never see again. Why compare. We should go after the businessmen.
'Harry Brown' is good - and I love 'The Italian Job.'
I'm British; I live here, and I've always made my films here. And we're on a journey in British filmmaking right now. We're attracting big films again. 'Star Wars' filming here will employ thousands of people. We're world-class in so many of the craft elements, and the vibrancy of our filmmaking is strong.
One of the best things about the award season is that when a British film succeeds at the Oscars and BAFTAs, such as 'Slumdog Millionaire' in 2009 and 'The King's Speech' this year, the British public get right behind it with an immense sense of national pride.
Well, I think by and large, certainly in terms of cinema, American culture dominates our cinema, mainly in the films that are shown in the multiplexes but also in the way that it has a magnetic effect on British films.
I've always loved English and loved English music and TV shows.
British audiences are toughest on British films. So often, a British film is the last thing they want to see. If you please them, you really know you've made an impact.
There just seems to be more acceptance now of... other kinds of British films, than the picture-postcard ones.
I'm not at all fed up with British films, but I am fed up with playing upper-class people.
I love filming in Britain.
After 'The Gamekeeper' I made one other film called 'Looks and Smiles,' but making British films was very difficult. There wasn't a tradition of British cinema.
I can't always be making 'British films.' Why should we be making films about corsets and horses and girls learning to drive when Americans send over an event movie and make five or 10 million?
I built up a knowledge of 1960s and '70s British films because my dad used to work nights, and I'd sit up with my mum and watch films - 'How I Won the War' and the films of Richard Lester, Karel Reisz and John Schlesinger.
I love 'Chitty Chitty Bang Bang' and I love 'Bugsy Malone.' I haven't seen 'Bedknobs and Broomsticks' in a long time, but I remember loving it as a kid.
So many of Spielberg's films inspired my imagination growing up. And then there are British films like 'The Full Monty' and 'Waking Ned Devine' that took me to places I really loved, with characters I just thought were amazing. But the films of Luc Besson showed me France - a really cool side of France.
