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 wanted to be a real writer, you can put it this way, but I was lazy. So I thought that cinema would be funnier because it's collective, and it's crazy, and it's chaotic, and also because I was based in Spain. So I said it will be easy to make a career of that - because all the other filmmakers there are very bad. And it will be funny at the same time. So this was the point. It will be funnier, easier, and maybe at the end there will be some unknown beauty, and maybe on the way we'll create the dream that a different logic is possible for life.

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.

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.

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

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