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.

A work of art doesn't exist outside the perception of the audience.

I never reflect or convey that which I have not experienced myself.

I don't have very complete scripts for my films. I have a general outline and a character in my mind, and I make no notes until I find the character who's in my mind in reality.

The fact of having this very new context, this unheard-of way of working, for me was very pleasant. I didn't feel that I was working, that I had any kind of burden to wear, to carry. I really was very happy and very lighthearted during the whole process of making the film [Certified Copy], of shooting it.

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.

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