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.

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.

It's the duty of art to ask questions, not to provide answers. And if you want a clearer answer, I'll have to pass.

When ideas lead to ideology, that's a very dangerous thing. Ideology then leads to creating the image of an enemy, and it leads to the murder and massacre.

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.

A strict form such as mine cannot be achieved through improvisation.

Personally, I can't stand violence. In any standard American mainstream movie, there's 20 times more violence than in any one of my films, so I don't know why those directors aren't asked why they're such specialists for violence.