My thinking was that today's spectator is so well-versed in film language that all theories about suspense, as argued by Dreyer and Hitchcock, on what makes you scared in cinema, can be ditched. It's the spectator, finally, who's going to construct the menace and the fear.

Cinema is all about going back from shadow to light and back and forth: cinema is a place of transgression.

The more elaborate your narrative, the more the spectator shuts up and listens obediently. And if the filmmaker keeps quiet, the spectator will himself project his own assumptions and sentiments onto the screen.

Hollywood films are alienating to the spectator because they use too much dialogue, too much explication and leave no space for the viewer. They depress me.

Sex becomes violent when you eliminate all the sentiments... voila, it gets crude.

My thinking was that today's spectator is so well-versed in film language that all theories about suspense, as argued by Dreyer and Hitchcock, on what makes you scared in cinema, can be ditched. It's the spectator, finally, who's going to construct the menace and the fear.

The United States is such a potent political, cultural, and economic model in the evocation of the contemporary world, that to come here, select some elements from the prototype and rearrange them, that's really interesting artistically.