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.

My films have been progressing towards a certain kind of minimalism, even though it was never intended. Elements which can be eliminated have been eliminated.

I never really learned photography.

I think the contrast between these two in the professional world of cinema mattered to me. One who has reached the ultimate point of being a star, who knows how to do everything very well, facing another person who would throughout the making of the film transfer his anxiety to both of us, to me and to Juliette, as to whether or not he would be capable of fulfilling his role. This in itself created a challenge that was actually very good for me, since I hadn't ever counterposed two such performers before, creating that challenge between someone who knows their part and someone who doesn't.

I remember when I came out of an exam thinking I had done well and then I had a clue that maybe one answer was wrong, I remembered that I rather stop knowing, stop thinking about it, appreciating life instead. So first, it was just a memory. But then I realized that in life, it's a much more general sentiment - that instead of waiting for other people's judgment, I'd rather focus on my own feelings, that everything is fine. To go on with my life rather than anticipating other people's judgements that might be negative.

I am still very surprised that I managed to make that film [Close Up]. When I actually look back on that film, I really feel that I was not the director but instead just a member of the audience.

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.