Because I'm the author of my screenplays I know what I'm looking for. It's true that I can be stubborn in demanding that I get what I want, but it's also a question of working with patience and love.

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

Usually music is used to hide a film's problems.

My films are intended as polemical statements against the American 'barrel down' cinema and its dis-empowerment of the spectator. They are an appeal for a cinema of insistent questions instead of false (because too quick) answers, for clarifying distance in place of violating closeness, for provocation and dialogue instead of consumption and consensus.

Of course, we avoid death. To know something is inevitable is one thing. To accept, to truly feel it... that's different.

To me, it's far more efficient to mobilize the imagination. It's far more efficient to hear a creaking step, for example, than to see the face of a monster, which usually looks ridiculous, and where you know that the blood is ketchup.

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.