I don't call cut between the takes - it's my way to help the actor keep focused. As soon as you say 'cut' you have 10 people jumping on them and everybody's trying to do a great job, and they do, but sometimes they forget that the more important thing is the performance, creating the performance.

In a way, putting actors deep into this sort of complicated universe frees them from thinking about who they should be. They just are somebody.

I want to see abstract art move. Especially in the '30s, you had animators doing innovative work, and I was entranced by that. It's basically what you see when you close your eyes, when you fall asleep.

The idea that competition is pointless is really something that speaks to me, especially in America where competition is really prominent and very overwhelming, and it doesn't bring the best out in you because what's going to push you is to bring others down.

I think always my interest in making movies is to have something really technical mixed with something that was not so formal...something free.

If you take a child from South Africa and you put them in Boston, they're going to speak with a Boston accent. And so, that's a way to see the world as everybody is equal, not as a result of politics, but as human beings.

I don't mock things, which makes me more vulnerable to mockery myself. If you're cynical, you're protected from mockery. But I have to be nice. I don't think I have irony. A sense of humour, yes, but not irony.