The process of writing and directing drives you to such extremes that it's natural to feel an affinity with insanity. I approach that madness as something dangerous, and I'm afraid, but also I want to go to it, to see what's there, to embrace it. I don't know why, but I'm drawn.

But you know, as you say, the original versions of my films are getting out there, slowly.

The psychiatrists examine you and ask you about your life and work, and then they decide whether your film can be shown or not. It's a horrible experience.

But no one should have the right to manipulate my films in the first place.

'Macbeth' is one of the best operas ever, and doing it was a great experience. I added some things to the opera based from my experience on the movie - such as some of the special effects and bits of film - to make it new and interesting. It was a very good work and a very good experience.

I think the camera was always my obsession, the camera movements. Because for me it's the most important thing in the move, the camera, because without the camera, film is just a stage or television - nothing.

My daughter, Asia, has been in many of my movies. I love working with her. In the beginning, I was not supportive of her being an actress, but now I think she is fantastic.