If someone's lying to us, then it's rare that we know that they're lying to us. It's only in bad films that you recognize immediately that an actor's playing in such a way that you can see that he's lying, and that's simply dumb. But to reach that, it requires that you make a film in such a way that a spectator feels compelled to find his own explanation. You want to lead the spectator to find his own interpretation. To ask questions rather than provide all of the answers. Doing that leads to open endings and open dramaturgy.

When making a film, I'm never concerned about whether the theme is new or whether it's been done before in cinema or not. I'm led to make films if there's a theme that interests me or I experience something in my own life that confronts me with something that I want to deal with.

Film is 24 lies per second at the service of truth, or at the service of the attempt to find the truth.

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.

The dumber people are, the more they feel the need for a broad set of shoulders they can lay their head against.

Classicism becomes avant-garde when everyone else is doing their utmost to develop new stylistic forms. And I think it's healthy to return to classical forms.

It's impossible to consider living without ideals. However, 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 that we've seen since the beginning of time.