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.

Often to understand, we have to look into emptiness.

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.

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.

Before each new setup, I chase everyone off the set in order to be alone and look through the camera. In that moment, the film seems quite easy. But then the others come in and everything becomes difficult.

My work is like digging, it's archaeological research among the arid materials of our times. That's how I understand my first films, and that's what I'm still doing...

Everyone has understood me in his own way. But I would have to understand myself first in order to judge - and so far, I haven't.