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

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

I make my films because I'm affected by a situation, by something that makes me want to reflect on it, that lends itself to an artistic reflection. I always aim to look directly at what I'm dealing with. I think it's a task of dramatic art to confront us with things that in the entertainment industry are usually swept under the rug.

It's a fact that people who are in a weakened position, whether physically or mentally, have this perception of the outer world as threatening. Everything that is unexpected or unknown is seen as a potential danger.

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.

My films are intended as polemical statements against the American 'barrel down' cinema and its dis-empowerment of the spectator. They are an appeal for a cinema of insistent questions instead of false (because too quick) answers, for clarifying distance in place of violating closeness, for provocation and dialogue instead of consumption and consensus.

Never say no. It always depends on what's possible. I don't care so much where it is; it's what I want to do that matters.