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.

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.

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.

In order to be universal, you have to be rooted in your own culture.

I prefer the countryside to cities. This is also true of my films: I have made more films in rural societies, and villages, than in towns.

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.