In German. I'm more sensitized to the details, to the emotions. In English, I wouldn't detect as much nuance.

It's difficult because you can't generalise about these things. But in essence, you deal with children as simply as you deal with actors - you have to show a certain sort of respect. You deal with them lovingly and protect them, but if you protect them enough then they're open to engage with what you want to do with them.

At its best, film should be like a ski jump. It should give the viewer the option of taking flight, while the act of jumping is left up to him.

It could be Fascist, religious or political - it's always the same model that operates in these circumstances, and it's that which is the actuality of this film. Therefore, it's not specifically an explanation of German Fascism because that would be an impossible thing to do in any case.

If you do an original film and you want to cut a scene out you do it. But when you do a shot by shot remake you don't have that option and every scene has to work again.

Of course I am a child of European culture. There are a number of great directors from which I learned, but there is nobody in particular I got inspired from.

If you go with the principle, you should go with the principle. If I really saw the subject very differently than ten years ago, I would have done a different movie.