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

On the set I make jokes I can't get too involved, or it turns into sentimental soup. I try to keep it light.

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.

I love actors, both my parents were actors, and the work with actors is the most enjoyable part of making a film. It's important that they feel protected and are confident they won't be betrayed. When you create that atmosphere of trust, it's in the bag - the actors will do everything to satisfy you.

To decide to film a movie again shot by shot, you must be masochistic to a certain degree because it is a much greater challenge.

If I'm reading a book that doesn't leave me with questions, moving questions, that I feel confronted with, then for me it's a waste of time. I don't want to read a book that simply confirms what I already know.

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.