Whether you consider me a master filmmaker or not, I do it with my intuition and my vision, my experience as a storyteller.

This kind of directing, I think, is very similar to being a football coach. You prepare your players and place them in the right places, but once the game is on, there's nothing much you can do - you can smoke a cigarette or get nervous, but you can't do much.

In my opinion the man looks at the relationship in a more bitter fashion and the woman still holds great hopes.

The one-word cinema wasn't possible for me anymore. I'd hit a wall, a dead end. Therefore I thought I'd turn back.

In real life, when someone's partner calls them, they can tell from the first word their partner says what their mood is.

I often say to my students in workshops that if they are trying to find literary inspiration, they should not go and read novels, because novels are more appropriate for series. Where as they should read short stories - that's the right format for you to be able to actually display the narrative in a film.

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.