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.

I saw this French woman, this English man in Italy. It was a film [Certified Copy] I knew well, but I had already seen it, and I was familiar with it, and I had no feeling of anxiety or responsibility toward it.

When we start shooting I don't have rehearsals with characters at all. So, rather than pulling them towards myself, I travel closer to them; it's very much closer to the real person than anything I try to create. So I give them something but I also take from them.

It is a very important film, Life And Nothing More, in that what was filmed was inspired by a journey I had made just three days after an earthquake. And I speak not only of the film itself but also of the experience of being in that place, where only three days before 50,000 people had died.

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

I never really learned photography.

I prefer the films that put their audience to sleep in the theater. Some films have made me doze off in the theater, but the same films have made me stay up at night, wake up thinking about them in the morning, and keep on thinking about them for weeks.