You become a film critic because you're interested in film. I don't know whether knowing so much about cinema leads you to make better films, but it certainly can't hurt.

It's unbearable when someone changes around you. Just imagine that your life partner changes, then it is difficult to cope with. Or your mother. Or your father. They were strong and now they're like a baby - it's not so funny.

I think watching a movie that simply confirms my feelings is a waste of time. That applies not only to movies, but also to books and every form of art.

For me, it's always difficult when a historical film claims to depict or represent a reality that none of us can know, that is always different. It's always the case. We never know what happened then. So my approach with the narrator is to question that, to leave that open, to underline the fact that this is uncertain.

I think that what's important as a director is to give your actors the feeling that they're protected, the feeling of confidence, the feeling that if they make mistakes, then as a director, you'll know how to help them. If you're able to convey that, then the actors will give you wonderful performances. As well as the author, you have to write scenes that give the actors the opportunity to show what they're capable of.

I try to get closer to reality, to get close to the contradictions. The cinema world can be a real world rather than a dream world.

Films that are entertainments give simple answers but I think that's ultimately more cynical, as it denies the viewer room to think. If there are more answers at the end, then surely it is a richer experience.