For me, it's always difficult when a historical film claims to depict or represent a reality that none of us can know, that is always different. It's always the case. We never know what happened then. So my approach with the narrator is to question that, to leave that open, to underline the fact that this is uncertain.

It’s harder to write a story with just two people in a room than with 50 characters.

A feature film is twenty-four lies per second.

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.

Of course, we avoid death. To know something is inevitable is one thing. To accept, to truly feel it... that's different.

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.