I try to simplify things for the children. For instance, [I arrange] for them to have almost no dialogue, or to somehow give them very precise indications, because usually they ask for that.

When I was a child, I had a quiet, protected childhood.

What is very exciting with children is they like to play, and they don't care so much about the meanings [of things], and they are just excited to have weird scenes to do or weird things to do, like playing deaf, or playing sick, or swimming in the water.

I try to simplify things for the children. For instance, [I arrange] for them to have almost no dialogue, or to somehow give them very precise indications, because usually they ask for that.

I am very much interested in fairy tales. I guess that most of the films I like to do have this kind of aspect.

I used to live in a little city by the sea, and the feeling of isolation - it was not like living in Paris or London. It was a bit apart from the main city, and [it gave me] this feeling of isolation and also being close to nature, with nature as a surrounding and also a frontier, from the society of the world.

I think sometimes there are films where I understand what they are about, but there are also some mysterious areas in the film where I haven't got the whole image and I haven't got everything. And then it stays much longer with me, because I have to somehow put myself much more into the film to get it. And so this is what I'm trying to do with my films.