I'm not someone who enjoys long talks, long rehearsals. I'm very technical: I tell my actors, you come in, you sit down, you pick up a coffee, you look here, you say the line. We try it with the cameras rolling, and if it doesn't work, we adjust it until it does. It's very simple.

Because I'm the author of my screenplays I know what I'm looking for. It's true that I can be stubborn in demanding that I get what I want, but it's also a question of working with patience and love.

I always seek to mobilize, to call on the imagination of the spectator. It's well-known that the images that are created by one's imagination are far stronger than any that I can show. In fact, it's an error, a widespread error in mainstream cinema, to always want to show things and to depict things.

My father and I had a good relationship, it was very relaxed. He had a lot of humour. He looked a little bit like me, although he had no beard. He had the appearance of a very elegant British-looking man.

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.

It's much harder to write a script that involves two people in a single location than 20 people in 30 different locations.

Every form of anti-Semitism, every form of xenophobia plays on the fear of the unknown, and unfortunately there are all too many politicians who know how to manipulate that. The dumber people are, the more they feel the need for a broad set of shoulders they can lay their head against.