I like to write for actors I know and with whom I've worked before. You can write to their strengths and weaknesses and write roles that are better suited to them.

My father and I had a good relationship, it was very relaxed. He had a lot of humour. He looked a little bit like me, although he had no beard. He had the appearance of a very elegant British-looking man.

My feeling, however, is that films that are open are more productive for the audience. The films that, if I'm in a cinema, and I'm watching a movie that answers all the questions that it raises, it's a film that bores me. In the same way, 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.

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.

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.

Unfortunately, you're helpless when people interpret your work wrongly. There are simply people who can't or won't understand or accept what you're trying to do. When you take the risk of expressing yourself in public, you have to open yourself to that possibility.

I never use soundtrack; it is always part of the story.