I do believe that a film like Ten could never have been made with a 35mm camera. The first part of the film lasts 17 minutes, and by the end of that part, the kid has totally forgotten the camera.

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.

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.

A work of art doesn't exist outside the perception of the audience.

This [the earthquake] was a very big influence on me, and the issue of life and death from then on does recur in my films.

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.

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.