I think the purpose of test screenings is different for the studio and for the filmmaker. For the studio, I think they want to know whether the film works or not.

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.

Sometimes it's interesting to see something that you're not used to seeing, which is the main ingredient of life, and it's removed from the usual entertainment. I think it's important to give the opportunity to people to witness the life of somebody who was not public.

When I saw The Matrix and other movies of this type, I wished I had been given the opportunity to express myself with all this technology and do something sort of big in scale, but the right material never really came my way.

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 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.

I'm always excited to work with actors.