In my experience as a director, I think there is obviously something of the way men - maybe that's a common point with Shirin - the way men see women in the film, and the way these two characters see each other.

I think life is so difficult to catch, it's so furtive, that a copy, a film, can in no way catch it and represent it.

My car's my best friend. My office. My home. My location. I have a very intimate sense when I am in a car with someone next to me. We're in the most comfortable seats because we're not facing each other, but sitting side by side. We don't look at each other, but instead do so only when we want to. We're allowed to look around without appearing rude. We have a big screen in front of us and side views. Silence doesn't seem heavy or difficult. Nobody serves anybody. And many other aspects. One most important thing is that it transports us from one place to another.

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.

When I talk to some of the younger filmmakers, they are so worried about their films that, eventually, this state of being worried reflects itself in and helps the final work. Whereas, with projects that are meticulously planned, you look at the end result and it is full of emptiness.

It's true that the best way of knowing yourself is to put yourself into different situations.

I really think that I don't mind people sleeping during my films, because I know that some very good films might prepare you for sleeping or falling asleep or snoozing. It's not to be taken badly at all.