Normally, however, I try to avoid repetitions of any shot.

I've made films about the middle classes because I know them best. Everyone talks about what he knows best.

I've always played down the drama in my films. In my main scenes, there's never an opportunity for an actor to let go of everything he's got inside. I always try to tone down the acting, because my stories demand it, to the point where I might change a script so that an actor has no opportunity to come out well.

There are many ways of communicating. Some hold the theory that new forms of communication between people can be obtained through hallucinogenic drugs.

I simply know what the actor's attitude should be and what he should say. He doesn't, because he can't see the relationship that begins to exist between his body and the other things in the scene.

A man who renounces something is also a man who believes in something.

It's obvious that I must explain what I want from an actor, but I don't want to discuss everything I ask him to do, because often my requests are completely instinctive and there are things I can't explain. It's like painting: You don't know why you use pink instead of blue. You simply feel that's how it should be - pink. Then the phone rings and you answer it. When you come back, you don't want pink anymore and you use blue - without knowing why. You can't help it; that's just the way it is.