In general, in all my films, I choose to create a certain mistrust, rather than claiming that what I'm showing onscreen is an accurate reproduction of reality. I want people to question what they are seeing onscreen. In the same way as I used the narrator, I also used black and white, because it creates a distance toward what's being seen. I see the film as an artifact rather than a reliable reconstruction of a reality that we cannot know.

On the set I make jokes I can't get too involved, or it turns into sentimental soup. I try to keep it light.

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

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.

I consider all my films an experiment, at least in my mind.

Mainstream cinema raises questions only to immediately provide an answer to them, so they can send the spectator home reassured. If we actually had those answers, then society would appear very different from what it is.

Even the most elitist director or author who claims that he doesn't care if his works are seen or not, then I have to think that he's either a liar or a hypocrite.