In order to be able to cooperate with a child, you have to come down to below their level in order to communicate with them. Actors are also like children.

Good cinema is what we can believe and bad cinema is what we can't believe. What you see and believe in is very much what I'm interested in.

It seems that film-makers are being divided between those working in digital and those who are not. I think it's not something predetermined - it all depends on what project we have in mind, and on that basis we choose the medium.

I do think that we are sometimes, as directors, guilty of portraying or asking our actors to behave in certain ways that are perhaps not very morally acceptable. I'm not the only one.

I have received the digital camera as a blessing. It has really changed my life as a filmmaker, because I don't use my camera anymore as a camera. I don't feel it as a camera. I feel it as a friend, as something that doesn't make an impression on people, that doesn't make them feel uncomfortable, and that is completely forgotten in my way of approaching life and people and film.

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

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.