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

I like to write for actors I know and with whom I've worked before. You can write to their strengths and weaknesses and write roles that are better suited to them.

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

It could be Fascist, religious or political - it's always the same model that operates in these circumstances, and it's that which is the actuality of this film. Therefore, it's not specifically an explanation of German Fascism because that would be an impossible thing to do in any case.

The trouble is that when you read criticisms about the other films that I've made you get the impression that they're all about themes, or problems, or ideas. But those are actually things that develop out of characters, out of images and out of other things. These more abstract things develop while working on the material, and out of it. It's not a theoretical exercise from the outset.

Usually music is used to hide a film's problems.

A feature film is twenty-four lies per second.