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 find, surprisingly, that actors are liberated in their work if there's stuff going on around them, because they can't think too much about who they're supposed to be.

It's very hard to say I'm surrealist. It's like saying I'm poetic. It's not something you want necessarily to be aware of.

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 like to use a bit of chaos when I shoot. I think it may be something from the way I shot my first film - I was very scared, of course, and I prepared everything, I wanted to make sure that the characters did the right thing at the right time on the storyboard. But then I realised that in life, there is so much more than what you can predict or write in advance, that when you shoot the story, it's good to leave some gaps where you lose control. I think this combination of chaos and organisation gives a kind of quality.

The problem is, with a lot of children's films, they are very commercial.

I'm always excited to work with actors.