A Quote by Andrew Haigh

I love the fact that James Ivory made films about Britain, made 'Howards End' and 'The Remains of the Day,' or that Paul Thomas Anderson made 'Phantom Thread.' They're about Britishness, but they're from an American perspective. And I actually think they're fantastic in the way that they understand Britishness.
Coming from a different perspective on a society is really interesting. I love the Paul Thomas Anderson's 'Phantom Thread,' and that's a version of Britishness and Englishness made by an American.
Ever since the commercial smash that was 'The Full Monty', we've always made films about underdogs. It's something that embodies Britishness and that sense of community and people punching above their weight.
We try to make films for people [that are] the films that we'd like to see. They're not easy to get made. They're hard to get made. You have to keep the budget low to get them made. But at the end of the day, I don't really worry about competition, because I don't really think of it that way. I don't feel like I'm in a race with anybody.
I always find the idea of Britishness a bit of a boring old concept, to be honest. That world of Britishness always comes off a bit twee and only about cream teas and that sort of things.
I love what Paul Thomas Anderson did with 'The Master' with putting out those teasers made up of footage that's not in the movie.
When I started working as a writer-director, that's when he became Paul Thomas Anderson and I became Paul W.S. Anderson. Neither of us can write and direct an American movie under the name Paul Anderson.
I always feel I have made unfilmable books. I even felt that way about a book of mine that was later made into a movie. But my wife, who has made two films, thinks this one would make a very original film. I'm all for original films.
At the end of the day, what difference does it make if you made 10 films or 18 films? You made 10 films, but you had a great relationship with your kids, or at least you did your best not to screw them up irrevocably, or you made 18, and they don't return your phone calls.
Being on a Paul Thomas Anderson film, the best decision an actor can make is to listen to Paul Thomas Anderson. Because he's probably not going to steer anyone in the wrong direction. I would always say go with your gut on any other movie set, but with Paul, I would say go with Paul's gut.
One of the things about Derek Jarman was that he was a painter who worked alone when he painted, but I firmly believe that one of the reasons he made films was for the company. He made filmmakers of all of us, that's the truth. I don't mean he necessarily made directors, but he made us filmmakers. Because we lived in a state of mutual responsibility for what we made.
I was brought up in Britain, and I'm very proud of my Britishness and my culture.
You could pick another two people and you'd have a whole other story and that's why films about love get made and made and made - because there's a million ways to tell it and no two stories are the same.
I've never made a secret of the fact that I love watching telly. I write this column about it and have made three TV series about it, too.
I moved out to L.A. to be a filmmaker or director. I didn't even think about doing comedy or even acting. I wanted to be like Paul Thomas Anderson or Wes Anderson, but I wasn't going to a lot of comedy.
Satyajit Ray made films the way films should be made - from start to finish. So whether you're needed on the set or not, you can spend your whole time thinking about your character.
There's been almost a dozen films that have been made against me. There's actually more films made attacking me than films I've made.
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