I'm always careful about the thing I'm writing to make sure a viewer can imagine it happening to themselves.

I always feel that a viewer has an expectation about every moment of the film and where it's going, so if I act against that, I've created a twist. In fact it becomes a kind of game with the expectations of the viewer. This is the superficial appearance. In the layer beneath there is a hidden theme. The result of each twist is that the judgment of the audience member is challenged.

There is no privilege in restriction. In other words, I disagree with people who say restriction makes you more creative. I think that's a misleading slogan. I might have been more creative without them than with them.

Whether we like it or not, the modernity is something that comes from Western countries, and when the modernity comes to the Eastern countries, although they feel like they really need it, at the same time it shakes the very fundament of the culture - there is always this challenge between the two.

It was important to me to make a film where I don't show the past but where the spectators can see the past.

I feel it’s important to talk about the complex issues affecting us. And these are complex issues. I think it’s insulting to an audience to make them sit and watch a film and then give them a message in one sentence.

We always have the movies that are more toward real life, but they don't have that much drama or suspense, or we have the full of drama or suspense, but they're far away from real life. Always when I was watching a film, films with good drama, I was thinking, "I wish they were more close to real life." But when I was watching real life films I was thinking, "Well I wish it had more drama." I've tried, in the movies that I worked so far, to get these two things closer and closer to each other.