I think I'm no different to my friends who are doctors or businessmen or architects - we all started watching films of the golden age together. But whether I'm making films or writing poetry or doing photography, it's very much rooted in my sense of unease. And that's really where everything goes back to.

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.

Children are very strong and independent characters and can come up with more interesting things than Marlon Brando, and it's sometimes very difficult to direct or order them to do something.

With the RED, I didn't have this impression at all. I felt that it was as heavy as a film camera. Having this great crew, with the DP and his assistants, I found it making as much of an impression as a very big film camera. I didn't relate to it as much. I remember avoiding it during the shooting rather than paying attention to it.

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.

Anything I've not experienced I do not look to for a subject. I have to feel it.

I think that if you're a digital thinker, you can use a digital camera.