Each film is different. Time Code was very quick - a matter of months. Miss Julie has been on my shelf as a script for some seven or eight years. But then the shooting process was very quick - 16 days.

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.

The power of sound to put an audience in a certain psychological state is vastly undervalued. And the more you know about music and harmony, the more you can do with that.

When I do the music, I make the musicians listen to what's happening in the film. That way they treat the dialogue as if it was a singer.

In discussing the process with the actors, I made it clear to them that they could improvise but that the sum total of their improvisation needed to impart certain plot points, and schematic material.

I like to work my camera as if it were a musical instrument.

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