Drama lives on conflict. If you're trying to deal with social issues seriously, there's no way of avoiding violence, which is so present in society.

To be perfectly honest, I think that as I'm growing older, I'm just growing more impatient. I'll be very happy if at some point people say, 'Michael's grown wiser and softer in his old age.' But we'll have to wait and see what my next project is.

I make my films because I'm affected by a situation, by something that makes me want to reflect on it, that lends itself to an artistic reflection. I always aim to look directly at what I'm dealing with. I think it's a task of dramatic art to confront us with things that in the entertainment industry are usually swept under the rug.

Films for TV have to be much closer to the book, mainly because the objective with a TV movie that translates literature is to get the audience, after seeing this version, to pick up the book and read it themselves. My attitude is that TV can never really be any form of art, because it serves audience expectations.

If being an advocate of peace, justice, and humanity toward all human beings is radical, then I'm glad to be called radical. And if it is radical to oppose the use of 70 percent of federal monies for destruction and war, then I am a radical.

We are at war, and it's ongoing, and there's no end in sight. More and more guys are coming back from it, and the transition back to civilian life is almost too big a mountain to climb.

After the Spanish Civil War against Franco, a group of us got together: a group of well-to-do people who were sympathetic to the lost cause of a Republican state. We bought a convent in Toulouse and converted it into a hospital run by the Unitarians. It took care of the Spanish refugees who fled to Toulouse.

I believe that political correctness can be a form of linguistic fascism, and it sends shivers down the spine of my generation who went to war against fascism.