Quotes

I wondered whether I'd succeed, not just in telling the novel's story, but also in filling it with the same moral density. Could I film the thin line that divides good from evil, justice from iniquity? Could I film the overpowering of a woman without adding outrage? Could I film a man's criminal selfishness without condemning him? - On being filled with doubts preparing to film 'Don't Move.'.

Objectively speaking, the crisis is only too real. We are all tragic optimists. Europe is not united by its economy but rather by its culture, its diversity and culture. But times have changed and we are having problems relaunching cinema as a popular art. However we have seen a number of positive signs and personally, I welcomed the success of a film like that by Marco Bellocchio as an exceptional event. - Speaking about the problems of European Cinema at European Film Awards 2002.

Well, actually I started directing in theatre a few years ago, and I always appreciated my job as an actor, as a craftsman, it seemed to me quite natural to "build" a film altogether. - On what led you to make the giant leap from actor to director?.

Wonderful. She wrote the book over five years and I had the chance of reading the book as the pages came by. But when we decided it would be a film and we started talking about the script Margaret left me on my own for the first draft. She felt I had to make my own decisions as a director. She came on board with the following drafts. - On what it was like co-writing the screenplay for 'Don't Move' with his wife?.

Yes, in the beginning, that was very important to me to understand the meaning and psychological meaning, but we also studied about accents. I think Andrew wanted a Mediterranean accent, Spanish, Italian, Greek, North-African, French a Telmarine's accent. It's quite easy for me to do a good accent. - On whether his 'The Chronicles of Narnia: Prince Caspian' script was translated into Italian to help him learn his lines.