There's the instability of my attitude as an artist, the instability of our perception of the world, and the idea that with this mix, you never know exactly what's the point of view of the filmmaker. This breaks the stability of the belief that a filmmaker is somebody who has a logical relationship with his own material. These elements create this atmosphere that I find more interesting than a normal atmosphere, based only on the characters.

In fact, my methodology is based on the idea of waiting for when inspiration arrives for the actors. And that means that the light, the cinematography, everything has to be ready for that moment, so they don't have to wait.

I like to be challenged. I like rebellion. It adds some richness and some interest to life.

We didn't want to live anymore in the old logic. And I like that. The consequence of that is to create the dream of that, but we all know this dream may be not possible. So here we have the key of the ambiguity of the atmosphere of my films. Is it possible, this dream? Is it as funny as it seems, or is it tragic?

I want to give meaning to the history of the past, but to do it in real time, as if it were lived. This gives a special touch to my films, because you feel that I didn't have one single idea of the concrete meaning of what I wanted to say or what you have to feel or what you have to think. For me, this is the beauty, to see the past being born in front of you.

In art, I think it's not useful to be a professional of the profession. It will not give you something new.

Every phase of a film has to go against what was done in the previous one.