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the process of actually discovering what
the film is for me is the journey of

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making the film the key process is
getting out there on the location and

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shooting the film and it's during that
but I really discover what the film is

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and that is a collaboration of a very
involved in organic kind which is not

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just about the actors but about the
cinematographer the designers the sound
man the weight of the editor and

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everybody else but in order to do that
each film is preceded by what these days

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is usually arounds not about six months
of doing the kind of work that I would

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elicit Lee referring to which
principally involves the actors that of

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course it involves the other people too
because obviously we have to prepare the

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film that we're going to shoot and we
all have to be when we get to day one of

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the shooting which is the only time but
it really matters because frankly if

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you're making a movie nothing matters
except what happens in front of the

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camera when it turns over that the
period before that that the beginning of
that period and there is no structure at

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all there is no five or three act
structure or anything else there is a

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feeling a concept a notion possibilities
but the time we get to the point before

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the shoot there is a structure a broad
structure which I I do put on very

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briefly on paper in a very schematic way
but I think it what I have to say is

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that all art in every medium is a
synthesis of improvisation and order all
artists no matter when you write or

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paint or sculpt or make music or write
poems or whatever you do all artists

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will have to a greater or lesser extent
and sense of what they're going to do

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and perhaps not it may be down there I
love and up there

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in other words completely intuitive not
not in any way cerebral or intellectual
or rational it may be a strong sense of

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something that inevitably has to be done
or something that really has to be

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fleshed out or discovered or dug up from
some depth just by the sheer act of
investigating Picasso paraphrasing

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Picasso said words the effect that if
you know what you're going to do before
you do it what is the point of doing it

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it is not extraordinary for artists to
either a not know what it's going to be

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until you start to investigate and then
you interact with the material or be to

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think they know what it's going to be
and it turns out to move in another

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direction or see to have a clearer
notion which drives them into the theme

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but then they're able to make
discoveries so all of that really is an

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explanation to you the fact that I can
and do have in the case of some films in

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the including naked and happy-go-lucky
as we've said have no more than a kind

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of sense of feeling of the spiritual
thing but then I start to you know work

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with this actor with Sally Hawkins in
the case of naked with David Thewlis and

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with others and start to build
characters and start to this resonates

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with ideas and possibilities and
juxtapositions of things I want to deal

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with and things that I mean for example
happy-go-lucky is at one level quite

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clearly a reflection on education there
are various teachers and good bad and

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indifferent that's a very V poppy and
her comrades are very good teachers

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there's a very good flamenco teacher who
however has doesn't know the first one

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of the first rule
of teaching if you leave your personal

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emotional baggage outside the classroom
and then there's this driving instructor

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called Scott brilliantly played by the
Marsan who is full of all kinds of
quantification and stuff about teaching

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but in fact understands nothing about
teaching it's always a lousy teacher and

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but it didn't occur to me but to
investigate teaching until I came to it

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through creating the characters and it
isn't that suddenly out of a blue light
or our education that's something I've

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never thought of I'm going to make this
film about it it's something that I'm

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obviously like everybody you know it's
an ongoing proc you patient I've been on

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the end of the education system I teach
time two times substantially and of
course I I've raised a couple of now

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adult kids and so I've been preoccupied
with education from that point of view

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so you see kind of again as we artists
and people of various kinds of create

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things do you kind of have ongoing
preoccupations when you have very

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specific things that you set about