If I have to shoot on digital, I will not make the film.

We're losing film, especially in projection, we're losing a great achievement of civilization. A still image and darkness make up 50% of the experience. The still images become movement in your head. That's the magic of cinema.

When I began research, I read the writings of the Sonderkommandos. They are not well known, but these prisoners wrote from the middle of hell from Auschwitz, to let the world know what happened. The texts were buried beneath the ground and found after the liberation of the concentration camps.

There's digital fatigue. When you can do everything, you can actually do nothing.

I really wanted to take the viewer to the 'here and now' regarding the exterminations, and communicate directly in a visceral way. The art of cinema can communicate that way, and that's why I wanted to do it that way.

We consider the Holocaust as being a sort of strange event taking place on another planet; we never understood in a visceral way that this is something that took place in the heart of man. That's something that you can feel, the genocidal tendency is within human nature. It seems that if we forget about this, our future is also compromised.

If there's no magic of cinema, you only have the plain imagery of television. We are moving more and more towards a world devoid of meaningful experiences. We're going to the surface.