As long as I take the responsibility of the choice, I have to make the choice that is as right as possible.

With the RED, I didn't have this impression at all. I felt that it was as heavy as a film camera. Having this great crew, with the DP and his assistants, I found it making as much of an impression as a very big film camera. I didn't relate to it as much. I remember avoiding it during the shooting rather than paying attention to it.

There are certainties in existence, but love is something much harder to define than light and dark, life and death. I think saying you are "like" someone in love sounds right.

Close-Up is a very particular film in my oeuvre. It's a film that was made in a very particular way; mainly because I didn't really have the time to think about how to go about making the film.

I wasn't searching for a common denominator - I started wondering about the challenge of working in other cultures. What I reached was the sudden acknowledgment of the universal aspect of filmmaking.

I don't generally derive my stories from novels. I try to turn into film things I have felt or experienced.

When I'm in the process of making a movie I'm not thinking about the finished result, and whether people have to see it once or more than once, and what the reaction to it will be. I just make it, and then I live with the consequences, some of which may not be as pleasant as I'd like! I know one thing, however. Many viewers may come out of the theater not satisfied, but they won't be able to forget the movie. I know they'll be talking about it during their next dinner. I want them to be a little restless about my movies, and keep trying to find something in them.