The only thing that I can do is hold a mirror in front of men and women, in front of the viewer in the theater, to reflect. There is nothing but reflection that I could intend to offer the viewer of the film.

My car's my best friend. My office. My home. My location. I have a very intimate sense when I am in a car with someone next to me. We're in the most comfortable seats because we're not facing each other, but sitting side by side. We don't look at each other, 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. Nobody serves anybody. And many other aspects. One most important thing is that it transports us from one place to another.

I had intended to make another film, called Pocket Money, which was to be about children at a school. I was very much intrigued by the story [of Close Up] - it came into my dreams and I was very much influenced by it. So I called my producer and asked that we put aside Pocket Money and start something else, and he agreed.

The experience of life teaches us that being like someone in love is more real, because everything is uncertain.

I think being someone in love is so hard to define, so temporary, because retrospectively we often deny the state in which we were in love.

Despite the great advantages of digital video and the great ease of using the medium, still those who use it have first to understand the sensitivities of how to best use the medium.

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.