Writers and filmakers, that is, people who describe the world, suffer from an occupational disease. They never experience moments in life quite spontaneously. You always look at yourself from the outside. Even as a child I always observed myself and the world. I believe that everyone who chooses this path in any way, who chooses to be a describer of life, suffers from this condition. It's like a mental obsession. It can be a great pity too. It robs you of a certain joy in spontaneity.

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.

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.

That is one of the characteristics of fascism, the idea that the state can provide all of the answers for everyone.

There are really two types of laughter on the part of the spectator. There is the laughter of recognition - which means seeing things you're familiar with and laughing at yourself. But there's also hysterical laughter - a way of dealing with the things we see that upset us.

I'm interested in seeing films that confront me with new things, with films that make me question myself, with films that help me to reflect on subjects that I hadn't thought about before, films that help me progress and advance.

It's more enjoyable to shoot in a studio on a single location with two actors... if they are good.