No. I think I wanted it to be as accessible as possible to as big an audience as possible and to find a way of holding an audience. And I always thought that that was part of the riddle that it was important to be able to do that. I suppose I probably started off as a more overtly political filmmaker, but I feel that my films are all to do with that political situation insofar as that reflects the society we're in, and often, the main dimensions and battle lines; in a sense, even the contradiction. I think a work, to have any kind of real longevity, often needs to have that dimension to it as a sort of outer boundary—it needs to have that resonance. I think, at their
essence, most subjects are bound to hit those distinguishing marks, those boundaries. It's almost like they need to be rolled back to that point because it's at that point that they have the greatest significance. They're not just about that one thing.
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