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.

My grandfather lived across the garden from us, and in his attic he had a lot of radios, appliances and inventions that he had made over 50 years, such as a keyboard called a clavioline, which can be heard on some Beatles songs - it was popular in the 60s. So we had all that at home.

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.

I think it's a problem when journalists have the title of their article before they do the interview, because it biases the way they conduct it.

People who get to express their voice are paid by the people who make profit from it. So they're going to make you believe you have to spend your money buying these products otherwise you won't be happy. This is really wrong. Especially the implication it carries.

Every movie I do is challenging for me. There is some element of imaginative that you wouldn't have in a typical movie.

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.