The way that I sort of direct the writers is, let's do the best story we can. Let's not worry about production issues. 'How much will that cost? How are we going to shoot that?' Let's not set up those constraints on the writing. I don't think it helps the project to work like that.

The relationship between fascism and robotics, for instance, it's very clear that it's going to become way more important as time goes by.

Measurements, observations, descriptions can only be considered scientific when they are independently confirmed by other people.

If you replace a soldier with a machine, you take away the possibility of the soldier or the policeman to not do something the state asks of him. He may think it's unethical to do it. A machine doesn't have that critical perspective.

How can I make a movie about the violence of the police if the police aren't going to let me film it?

I come from a documentary background and my natural tendency, as a filmmaker, is to make a movie, if I have something to talk about. If it's not about anything that matters, I don't feel like doing it. I'm not against people who make movies just for fun, but I'm not one of those guys. I just want to provoke thinking and debating about certain issues.

It's all about this abstract entity called the story. It's all about the best way to tell the story, and to make a movie about the issues that this story is about. Filmmaking is storytelling, for me.