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.

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.

A feature film is twenty-four lies per second.

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.

In terms of cinema and filmmaking, there are certainly the unexpected gifts that the actors bestow on you. Film is always a question of compromises with respect to what you originally intended.

As a private person, professionally I am invisible.

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