Three days after my brother died, my father was in the hospital. He just did not want to live anymore. Before, he was fighting and loving life.

The key thing is that you start every film from sort of a blank page, almost like you discover it like a child discovers a new world.

I realized that a lot of the great directors that I admire from [Ingmar] Bergman to [Fredrico] Fellini re always shooting, then going into the editing room, and shooting again.

Three days after my brother died, my father was in the hospital. He just did not want to live anymore. Before, he was fighting and loving life.

I always try to stay objective, and to remove myself from the process and look at the film again.

I always think it's interesting to switch genres, because if I read a script and I know exactly how to manifest a story, I don't really want to do it anymore, because I've already done it in my head. It becomes less interesting. If I read something that's challenging, I get really passionate and usually fall in love with it, because I feel I need to do it. I need to tell the story; I need to find a way to make it happen.

All movements begin and end, and all have been inspired by others that have come before them. They evolve and then deconstruct again. There are very few designers whose aesthetic I'm drawn to on a personal level. However, that's different from the ways in which I might dress the characters in my films.