When I see nature, when I look into the sky, the dawn, the sun, the colors of insects, snow crystals, the night stars, I don't feel a need for God. Perhaps when I can no longer look and wonder, when I believe in nothing - then, perhaps, I might need something else. But I don't know what.

When I see a good film, it's like a whiplash. I run away, in order not to be influenced. Thus, the films I liked most are those I think least about.

All the characters in my films are fighting these problems, needing freedom, trying to find a way to cut themselves loose, but failing to rid themselves of conscience, a sense of sin, the whole bag of tricks.

I've always dreamed of getting to know the women of other countries better. When I was a boy, I remember, I used to get angry at the thought that I did not know German or American or Swedish women.

My films have always had an element of immediate autobiography, in that I shoot any particular scene according to the mood I'm in that day, according to the little daily experiences I've had and am having - but I don't tell what has happened to me. I would like to do something more strictly autobiographical, but perhaps I never will, because it isn't interesting enough.

When I am shooting a film I never think of how I want to shoot something; I simply shoot it.

Another reason for switching to color is world television. In a few years, it will all be in color, and you can't compete against that with black-and-white films.