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

It's only human and natural that an actor should see the film in terms of his own part, but I, as a director, have to see the film as a whole. He must therefore collaborate selflessly, totally.

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.

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.

I always mistrust everything I see, which an image shows me, because I imagine what is beyond it. And what is beyond an image cannot be known.

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

I am neither a sociologist nor a politician. All I can do is imagine for myself what the future will be like.