I would certainly say that films like Time Code and the Loss of Sexual Innocence were far more rewarding to me in terms of being able to move forward as a filmmaker.

The function of camera movement is to assist the storytelling. That's all it is. It cannot be there just to demonstrate itself.

I'm a huge fan of world cinema, because each country uses cinema in a very individual way.

I never had any urge or desire to do like a big spectacular movie with thousands and thousands of extras. I'd rather watch paint drying. But put me in a room with three people having a hard time, like a character situation, and then you're into a really intense portraiture kind of concept.

It's difficult working with very rich actors, because inevitably they become a little spoilt, and the managers and agents tend to control things more than is healthy.

I started using film as part of live theatre performance - what used to be called performance art - and I became intrigued by film.

I've held onto little musical sketches that I thought could be useful, and the more time that I spend doing them for each film, then the more I have to draw on.