I think working with actors is a little bit how a chef would work with a potato or a piece of meat. You have to kind of have a look at the potato or the piece of meat and see what kind of possibilities are in the ingredient. I know I'm using the wrong metaphor. I think my job is to see what potato is there and from there, just work under their conditions.

I come from a family of communist nudists. I was allowed to do or not do what I liked. My parents were not interested in whether I went to school or got drunk on white wine.

When I was in film school, it was said that all good films were characterised by some form of humour.

Even if you feel all right, tell the actors you don't have full power, and they will help you.

Far be it from me to force anyone into either chess or dressage, but if you choose to do so yourself, in my opinion there is only one way: follow the rules.

Unfortunately, on one or both of my shoulders sits lots of anxiety and that is a controlling factor in my life.

I am crazy about my own films. The films I've just made I'm crazy about them. But then I don't see them for many years. It's like when you get a new child you're very crazy about this child but then after a few years you're like, "what was its name again?"