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.

This is the power of images, the ambiguity. You are never completely sure of anything. With written language, it's more concrete. You have to establish some facts, but in movies, you see things happening, and the exact meaning behind the images is more ambiguous.

What am I doing as a filmmaker? What is the goal? To look for the unknown atmosphere that hasn't been described before. This is my only goal. Unknown images. Because if not, it's boring, no?

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 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.

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

I am quite a positive man in real life. In fact, even when I have a hard discussion with somebody, it lasts only five minutes. Then I forget. And I forgive everything. But at the same time, as I am such an easygoing guy, to create something more intense, I have to be auto-destructive on the making of a film. And this will guarantee some density.