I have somewhat lost my enthusiasm in the last years. Mainly because film students using digital video these days have not really produced anything which is more than superficial or simplistic; so I have my doubts.

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.

I spend a lot of time doing carpentry. Sometimes there is nothing that gives me the contentment that sawing a piece of wood does.

I believe there's only good cinema and bad cinema.

Cinema seats make people lazy. They expect to be given all the information. But for me, question marks are the punctuation of life.

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.

The kind of sleep that I had during my own film [Certified Copy] screening in Cannes is different. It's not because of the specificity of the film. It was because of my relationship as an author to this film. Usually when I take my films to festivals, I feel incredibly anxious about them. I wonder how it will be received, how the audience will react. I feel deeply responsible for them. Whereas this time, I didn't have that responsibility on my shoulders.