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.

Orange is an underrated color, it's the second most underrated color after yellow.

You cannot do everything you want with the 3D camera, it's too big, and the digital quality of those cameras is a little bit limiting. With film, you have a lot more subtly, like with highlights and color. In terms of sharpness they (both formats) are very close; but in terms of nuance, of color and contrast, film is far superior.

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.

You need philosophy. It sounds a little pompous but I think when you direct a film, the only way to find a response to the questions you keep asking yourself is to have a philosophy.

I'm not against the technology at all, I just don't like to use it if it's just to mimic what you can do with traditional methods.

When I shoot actors, I have that dilemma. I want the actor to be good, and sometimes I have to push them to a place that isn't pleasant. I always think: 'Is it worth doing for the sake of the movie?' But I have to remember the bigger picture.