Every time I go to Haiti after a season of busy work in Europe, I feel like I'm submerging into a certain state of mind, which is very productive.

For me, poetry has a strong link to my filmmaking. My films learn from my poetry. In poetry, you're free. You start in the corner and you don't know where it leads you. I have no message, I have nothing I want to tell, I just start and I see where it leads, and it's a big surprise and relief if it's good. That's the ideal state for filmmaking.

When I make films, I'm very conscious about leaving space for an uncertainty, and for some unexpected things.

I'm a man who struggles with melancholy and depression, but I am a very productive filmmaker and I work constantly, with no pause. Even in the worst of crises, I manage to produce work. And that's keeping me alive.

I hate films with a clear message, ones that have their answers already when they start.

I like to apply storytelling methods and techniques to try to frame the story in an interesting way, but you can never control what's happening.

Haiti is the best cure against melancholy; it is also the most creative place for me to be. My productivity has increased enormously since I moved to Haiti. That's where I write my stories, develop my ideas and write nonstop, so it's a productive time, not a sleepy time.