Never say no. It always depends on what's possible. I don't care so much where it is; it's what I want to do that matters.

A feature film is twenty-four lies per second.

Mainstream cinema raises questions only to immediately provide an answer to them, so they can send the spectator home reassured. If we actually had those answers, then society would appear very different from what it is.

What we're doing for another person is more important than what we're feeling for them.

It’s harder to write a story with just two people in a room than with 50 characters.

In general, in all my films, I choose to create a certain mistrust, rather than claiming that what I'm showing onscreen is an accurate reproduction of reality. I want people to question what they are seeing onscreen. In the same way as I used the narrator, I also used black and white, because it creates a distance toward what's being seen. I see the film as an artifact rather than a reliable reconstruction of a reality that we cannot know.

The dumber people are, the more they feel the need for a broad set of shoulders they can lay their head against.