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.

The film from the beginning is not the real world; it's an imaginary world. And this imaginary world is both inside and outside the normal world.

I had good parents. Nothing terrible happened. But I had the feeling that they kind of protected me from reality somehow.

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.

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 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 don't have storyboards, but I have some very strict rules, like not moving the camera.