I think that in some cases, I've made films that have a sentimental quality, at least as part of the film.

Free time keeps me going. It's just something that's always been a part of my life. I was originally a painter, and I made films sort of as an extension of that, and then I started to try to make dramatic films because the early films were experimental films.

I try to get to know the actors as much as I can. I feel like I'm friends with them for starters and for a week or two, we rehearse when they're getting the costumes together.

Free time keeps me going.

Silent is about needing to make a scene shorter by having physical things to cut to. That way, you can manipulate a character to the other side of the room. But, if they say the wrong thing, it might locate that action in a particular part of the scene. It's a mechanical need.

Even when you're making a movie about life, death is a presence, and I guess it's part of my dramatic viewpoint. I'm not sure why exactly.

I'm not being analytical. I just create everything intuitively. If you're too analytical, what you're doing probably ends up being too specific.