Eight years ago, I was drawn into Keats's world by Andrew Motion's biography. Soon I was reading back and forth between Keats's letters and his poems. The letters were fresh, intimate and irreverent, as though he were present and speaking. The Keats spell went very deep for me.

For me, being a director is about watching, not about telling people what to do. Or maybe it's like being a mirror; if they didn't have me to look at, they wouldn't be able to put the make-up on.

I can get very philosophical and ask the questions Keats was asking as a young guy. What are we here for? What's a soul? What's it all about? What is thinking about, imagination?

I did this Super-8 film at art school called 'Tissues,' this black comedy about a family whose father has been arrested for child molestation. I was absolutely thrilled by every inch of it, and would throw my projector in the back of my car and show it to anybody who would watch it.

I didn't like England. I couldn't take the look of the place or the style of friendship. I need more intimacy from people than is considered okay there, and I felt that my personality and my enthusiasms weren't understood. I had to put a big lid on myself.

I don't belong to any clubs, and I dislike club mentality of any kind, even feminism - although I do relate to the purpose and point of feminism. More in the work of older feminists, really, like Germaine Greer.

I feel that directors at times are like the janitors on the set. I am the secretary, I am the organizer, I am the maid, and I ask if they have eaten or rested. The best things are always out of your control. It's those moments that surpass the imagination that are thrilling.

I had this spooky psychological thing about 'The Piano' before it began, which was how everybody was going to go nuts on the set. Because a film tends to set up the way people are going to behave.

I love it when actors come to you with a problem and you have to listen. You'd like them to just get on with it, but it often means that there's a problem with the script.

I seem to have been able to make a career out of doing what I feel like doing, so why not keep doing it? What's corrupting is wanting to be more important. You want to be more arty - you get your identity from that. Or you get your identity out of making more money.

I think feature film can be quite conservative, because you have to now get audiences to come out, and it's quite a hard thing to do. Of course, television can be conservative too.

I think that the romantic impulse is in all of us and that sometimes we live it for a short time, but it's not part of a sensible way of living. It's a heroic path and it generally ends dangerously.

I think that the romantic impulse is in all of us and that sometimes we live it for a short time, but it's not part of a sensible way of living. It's a heroic path and it generally ends dangerously. I treasure it in the sense that I believe it's a path of great courage. It can also be the path of the foolhardy and the compulsive.

I think that three-act fundamentalism in film culture is a problem sometimes, because it's almost too obvious, or it's too expected. And it's not the only way to fill two hours, or to phrase things, or to order thoughts, or order ideas.

I think women don't grow up with the harsh world of criticism that men grow up with, we are more sensitively treated, and when you first experience the world of film-making you have to develop a very tough skin.

I took four years off after 'In the Cut' because I wanted to see who I'd be without work. I even tried being a hermit in the wilderness in New Zealand. I stayed in a warden's hut two-and-a-half hours off the Routeburn Track through the fjords on the South Island. It was early winter, so there was no electricity or running water.

I'm a much better filmmaker than painter. But studying it did make me visually acute and taught me lessons like being economic: Say something once and you don't have to say it again.

I've had a lot of different responses to my films. I got a lot of support from 'The Piano,' the obvious one, but it feels like an ocean, with a lot going on - the goal is to keep alive.

If you start with a good idea, you can encapsulate it in a phrase and explain it. I like high-concept films. Everyone can get hold of it. I don't think there's any harm in that at all.

It's been such a deep and amazing journey for me, getting close to John Keats, and also I love Shelley and Byron. I mean, the thing about the Romantic poets is that they've got the epitaph of romantic posthumously. They all died really young, and Keats, the youngest of them all.