I'm still very grateful to digital cameras in general, but I didn't have this feeling with the RED one.

People have curiosity, they have intelligence, they have interest in understanding their peers. But producers and directors of cinema have decided that the seats in the theaters have been made to transform people's minds to lazy minds.

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.

It was a film that I knew, that I had seen, that I was familiar with, but I wasn't anxious about it at any point during the screening. I snoozed twice, and this is something I couldn't have imagined that I would feel detached, as I did with this film [Certified Copy].

When the film [Certified Copy] was in the Cannes Festival, I realized that the fact of having it shot in a different culture, in a different language, in a different setting, that wasn't mine and that I didn't belong to, gave me a totally different relationship to the film. When I was sitting in the audience during the official screening in Cannes, I didn't feel that it was my film.

My last experience of film-making was Tickets, a three-episode film in Italy, the third of which is directed by myself. It's not for me to judge whether it's a good film or a bad film, but what I could say is that nobody had a cultural or linguistic issue with what was produced.

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