There's a longstanding myth about the United States that is still very prevalent in Europe [despite recent developments]. Historically the "America" of this myth is an incredible human adventure and an experiment in political democracy. But at the same time, or so we're told, it's the land of extremes where the worst can happen.

My life is existing. Cinema is certainly not my life

The battle between two men over a girl is the same as the fight for two men over a piece of land. It is all about desire. There is no difference between a love triangle and the conflict between Israel and Palestine.

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.

An actor is an instrument. One needs to control them.

Good and evil are polar concepts - one can't exist without the other.