Tom Hooper quotes:

I love the incredible variety of demands directing makes on you, from the entrepreneur to the hustler to the deal-maker to the writer; to directing actors and the camera and working with music, sound, marketing and promotion. It uses so many sides of your brain.

I think we all have blocks between us and the best version of ourselves, whether it's shyness, insecurity, anxiety, whether it's a physical block, and the story of a person overcoming that block to their best self. It's truly inspiring because I think all of us are engaged in that every day.

My two great loves when I'm shooting are working with great actors and composing images.

If you look at Shakespeare's history plays, what the setting of monarchy allows is this extraordinary intensification of emotions and predicament.

With the coming of radio as a mass medium, suddenly the world changed. It became about, 'Can this leader project emotional connection through the way he speaks on the radio?' And the anxiety about whether he could do that, we've inherited.

I think I would say 'The King's Speech' is surprisingly funny, in fact the audiences in London, Toronto, LA, New York commented there's more laughter in this film than in most comedies, while it is also a moving tear-jerker with an uplifting ending.

What I learned about stammering was that, when as a young child you lose the confidence of anyone who wants to listen to you, you lose confidence in your voice and the right to speech. And a lot of the therapy was saying, 'You have a right to be heard.'

The more uncompromisingly specific you are the more you end up touching the bigger universal truths.

When I was growing up my mother would say, 'Your dad may have to learn about being a father because he lost his own and that would have affected him'.

The irony of a director going to film festivals is you never get to see any of the films.

I think directors can become overly infatuated by gilt and gold, and the word 'lavish' and everything being magnificent.

In 'The King's Speech,' patriotism is utterly contained within a historical moment, the third of September, 1939, where the aggressor is clear, the fight is clear, it hasn't become complicated over time.

Well, I'm half Australian, half English and I live in London. That is the only reason I came upon this story. My Australian mother, Meredith Hooper, was invited in late 2007 by some Australian friends to make up a token Australian audience in a tiny fringe theater play reading of an unproduced, unrehearsed play called 'The King's Speech.'

The thing that fascinates me is that the way I came to film and television is extinct. Then there were gatekeepers, it was prohibitively expensive to make a film, to be a director you had to be an entrepreneur to raise money.

After my grandfather's plane took enemy fire, he was denied permission to land at the first available airstrip. In that classic British bureaucratic way, they said he had to go back to your own airbase in the Midlands. They crashed between the coast and the airfield.

I think people enjoy finding out something genuinely new.

I think the thumb print on the throat of many people is childhood trauma that goes unprocessed and unrecognized.

American cinema tends to express a patriotic relationship to national identity on a regular basis.

What's fascinating about the Australians is they have this quality that they are impervious to majesty. They're not awed.

I feel connected to the Second World War because my father lost his father in that war. So, through my dad and the effect it had on him of losing his father young, I always felt connected to the war. It goes back years, but it still feels to me as if we're completely living in it.

I find that after a screening, people really want to come and tell you what they feel.

I began to think that if you're a stutterer, it's about inhabiting silence, emptiness, and nothingness.

Well, I'm half Australian, half English and I live in London. That is the only reason I came upon this story. My Australian mother, Meredith Hooper, was invited in late 2007 by some Australian friends to make up a token Australian audience in a tiny fringe theater play reading of an unproduced, unrehearsed play called 'The King's Speech.

Sometimes your body language is enough for an actor to know that you're not happy. And you don't really need to say it out loud if you deal with actors you know very well. And I don't think you really need to be explicit.

My films seem to be about men's struggle with failure.

I appear to be drawn to iconic characters and what they reflect back to our cultures.

I have a yearning someday to do one of these huge juggernauts.

Films about the English monarchy, they tend to have a lavishness, sumptuous imagery, it's all very posh and rich.

Actors are programmed to see the worst. If you're talking about an actor's TV series, you say, 'I loved you last night.' And they go, 'What about the week before?' They immediately worry.

American movies are often very good at mining those great underlying myths that make films robustly travel across class, age, gender, culture.

If you look at classic Hollywood films, they tend to shoot close-ups on quite long lenses and the background it out of focus. You know, it's just a mush.

Some films clearly seem to divide people. And I do think there's something incredibly exciting about the commonality of us as human beings, which some films are lucky enough to tap into.

My dad said, 'The thing that I was told that was really helpful was that I mustn't be afraid of the things I was afraid of when I was five years old'. The shock of his childhood had put him in this defensive crouch against the world, and he needed to know that he had a nice wife and kids and it wasn't the same any more.

I would say L.A. is more polite than London - it's a very careful place. People talk a lot in code.

The hardest part of directing is the choosing. Unlike an actor who can do a variety of work, it is a year of your life, you can't afford to get it wrong.

I come from the kind of family where work is work; my parents always taught me that it's better to be doing something than sitting around doing nothing.

I'm the son of highly functioning parents who I'm incredibly lucky to have.

Some of my most special shooting experiences have been at weekends.

A British villain never loses their sense of humour.

A lot of dramas get a bad name commercially because they are unremittingly bleak.

Actors enjoy being treated as ordinary people.

Great acting is all about being in the moment, being in the present tense.

I decided to be a filmmaker when I was 12. I had utter clarity that this would be my life.

I don't even like football.

I mean, we've all had those dreams where, you know, we try to cry out and our voice won't come.

I think English film is very embarrassed by patriotism, generally.

I was always obsessed with finding truly researched images to add authenticity, out of that came something totally contemporary and modern. Research is very key to my process because over and over again, reality provides more interesting images than you could have invented.

Nowadays filmmakers tend to recycle the same cliches over and over again.

Thank you to my wonderful actors, the triangle of man-love which is Colin Firth, Geoffrey Rush and me.

There's something about being cerebral, intellectual, and yet emotionally repressed [in being villain]. If you think someone's doing this [bad] stuff and they're in complete control, that's more scary than if they're out of control.

Trans stories have now entered the mainstream in this fantastic way, but the most important thing is what follows from that is hopefully a shift in the experience of trans people - so that there's more acceptance in the culture to the issues they face and more support.