The film [Close Up] made itself, to a large extent. The characters involved were very real, I wasn't directing the actors so much as being directed by them. So it was a very particular film.

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.

It's not so much a question of whether we've shot it through 35mm or digital video; what is important is whether the audience accepts it as real.

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

In this type of cinema, whether working with actors or non-actors, as much as you do direct them, if you allow yourself to be directed by them, then the end result will be much more pleasing. The real and individual strengths of the actors is allowed to be expressed and is something that does affect the audience very deeply.

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.

Not that I ever felt the necessity of proving that all human beings suffer the same way, feel joy the same way, but it happened on my way - when I get close to these people, just by the simple intervention of translation I can actually reach them and ask them something, and their reaction is as I expected. I see that the relationship goes so smoothly, and I realize that cultural languages and specificities are nothing but simple obstacles that you can easily overcome. It's obvious that human beings are the same wherever they are.