Of the hundreds of points to enter and exit that are offered to me, I have to choose the one that I feel is the least wrong, the least fake. It is fake, it is a moment that I choose to erupt the story, but I make it as smooth as I can. What enables me to do it is the skill of filmmaking.

In order to be able to cooperate with a child, you have to come down to below their level in order to communicate with them. Actors are also like children.

It's true that the best way of knowing yourself is to put yourself into different situations.

All the different nations in the world, despite their differences of appearance and religion and language and way of life, still have one thing in common, and that is what's inside of all of us. If we X-rayed the insides of different human beings, we wouldn't be able to tell from those X-rays what the person's language or background or race is.

We don't look at each other [in the car], 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.

Therefore, when you see the end result, it's difficult to see who's the director, me or them. Ultimately, everything belongs to the actors - we just manage the situation.

I believe there's only good cinema and bad cinema.