A film should be like a rock in the shoe.

If anyone would like to hit me, they are perfectly welcome. I must warn you, though, that I might enjoy it. So maybe it's not the right kind of punishment.

If I made a musical in the beginning of my career, it would have been crane shots and tracking shots and people coming out of cakes and whatever, but these techniques are something that I’ve left behind me.

It’s the opening of Manderlay in Cannes, and I’m sitting next to this guy who’s writing for a tiny fictitious French paper called ‘On the Sunny Side,’ and he’s writing a review on the film, and he’s obviously bored. Then he tells me about all the cars he owns, and how rich he is, and all these things... So, at a certain point, he says, "So what do you do?" Then I take out this very strange hammer we have in the Danish building business, and I say, "I kill." And then I kill him. It is as stupid as it sounds.

I'm very proud of being persona non grata. I've never been that before in my life, and that suits me extremely wellI'm known for provocations, but I like provocations when they have a purpose. And this had no purpose whatsoever. Because I'm not Mel Gibson. I'm definitely not Mel Gibson.

I am crazy about time cuts. I have a theory that the audience tie everything together so they don't see time cuts but the time cuts give us the possibility of jumping in time, which means a psychological evolution can be cut down.

I’m having a vacation and it’s so beautiful and maybe I’ll never get another film idea in my life.