I like the idea of challenging Hollywood on its own turf. It's important to do that.

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.

Matching character and actor is what a good director does.

I like the idea of challenging Hollywood on its own turf. It's important to do that.

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.

To retain his dignity, an artist must live in opposition. He must be critical of his country. If not, then he is worthless.

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