Working with actors is something I've never done before. I find it tremendous. It's hard work.

I wanted to move away from Holland for my work because I felt that things would be better for me in England. But when I heard Joy Division's 'Unknown Pleasures', that pushed me towards making the move and making it real. I met them within 12 days of moving to England.

I've finally become an old guy.

I don't want to knock photography, and I don't feel that film is up there but photography isn't. I think they're next to each other really, you know. There's an incredible strength to a still picture. Or there can be an incredible strength to a still picture that can outlive you. That can outlive a film.

I love body language.

I'm not educated as a filmmaker, so it's quite a jump for me.

A lot of scripts that I was given I didn't feel were right for me, because I didn't feel anything for them - I didn't feel like I was going to change in life and start directing.

With a film, you try to keep your vision in it. I think with 'The American' and 'Control' I managed to do that.

The really simple approach to photography is a great balance to making the films.

I only make storyboards for action scenes. Once you make a storyboard, you don't film; it can be a stiff move.

I didn't make music videos in order to make a movie. Music videos were the goal for me, so it was never a step to something else. I approached it seriously.

'Control' had to do with my own life a lot, and that's why that seemed to be a film I could be the director of, because I had an emotional attachment to the whole story. And because of that experience, I feel that I can try other films. I didn't set out to become a director.

Mandela is just the eternal man. You want that man to be around forever. It's the closest thing we have to God, I think. He's the father of mankind, almost.

I didn't really know how to make a film when I made 'Control'. I had to create my own language, just as I did when I started taking photographs. I never studied either one.

Directing film is the hardest thing I have ever done.

I don't like fast editing.

For many years I wanted to do a film, but I never had the courage to clear my desk and say, 'OK I'll take a year off and do a film.'

If you're an artist, it's OK to put your money into your art. The advantage, in hindsight, is that you become the film, and the film becomes you; you breathe it.

My photography changed from being more documentary-like to arranging things more, and that came into being partly because I started doing music videos, and I incorporated some things from the music videos into my photography again, by arranging things more.

I think if you don't feel passionate about the first movie you're doing, in the end the project will lack something because you don't have enough experience to make the movie something special.

There are some elements of digital photography that I don't really like, such as the fact that you see the results immediately.

I never really enjoyed getting a portfolio together then sending it out; whereas, putting up the website is quite an enjoyable experience. The net's just a much faster and more modern way to distribute things, and you have to embrace it.

When I was younger, I'd buy a vinyl album, take it home and live with it, and I think that attachment's largely gone for the file-sharing generation.

When you make a movie, you know you're making a long-form thing, so the visuals are different than for a video where it has to be more obvious or in your face, I think, a little bit.

I wanted to do a film for a while, but I never found a script that I felt I was going to be the right person for; because if you've never made a film, you're not taught how to make a film, and you feel like you lack skills.

In England, I'm already labeled a rock photographer, which is a little insulting, because I'm not a rock photographer at all.

It's so easy for people to stick a label on you, and then that taints everything you touch.

The only advantage of the CD is that you have a booklet that can tell a bit of a story, but the little covers are just boring. I love vinyl, and I have loads of it. It's the same thing as digital photography versus film photography. It's a quality thing.

I wanted to make a film as an artist, and it's going to have to find an audience, you know. I don't know how big the audience will be.

I think Amsterdam is to Holland what New York is to America in a sense. It's a metropolis, so it's representative of Holland, but only a part of it - you know, it's more extreme, there's more happening, it's more liberal and more daring than the countryside in Holland is.

I happen to take photographs, and they happen to be used for a lot of things, but they're not really made to order. They're paid for, but they're not made for order. I've never really done real commercial work.