I'm a pretty chaotic person, but I'm also a perfectionist. It's a very unfortunate mix.

For me, each film, each script is like a little journey in itself, and I'm reinventing the wheel. It's like how do I make this film. That's part of the pleasure and that's why I'm not a normal professional director.

I never work from the script. I get the script more or less.

From film to film, even documentaries, I was learning the medium and learning how to bring form into some kind of relationship with the content, how to work it, and above all, how to create some kind of order out of chaos.

The changes are part of my writing process. When I write, I imagine scenes. I write things down. I take photographs. I do some casting. I rewrite. It's a permanent making or remaking.

We made a film about the need for silence and withdrawal... and here we are at the epicentre of noise and excitement. Life is full of surprises.

When I watch my early documentaries, they're very eclectic. They don't follow any particular [pattern]. I would have gotten thrown out of film school because I didn't. I was just putting them together somehow as the spirit moved me, following my nose, thinking I was brilliant.