I think décor says a lot about someone's social position, their taste, their sensibility, their work - and also about the aesthetic way I have chosen to tell their story.

If I had not been successful as a director, then I'm sure I would still be telling stories. I would have continued on 16mm or found a different medium through which to tell them. Maybe they would have been less glamorous than films, but I would continue to tell stories.

Each actor is a very different person, and each one has to be directed very differently.

I'm more interested to show the darkest places of myself, and I don't joke about it.

When I'm writing, I don't put faces on the characters. When I finish the first draft of the script, I start visualizing, and sometimes then I think about one actor.

After the enormous success of All About my Mother, all the awards and everything, I wanted to start a movie in exactly the same place that I used to be before. I wanted to show that all of the success had not changed my perception.

I'm really a nightmare for the fashion designer because I take away all of his authority, and I become the authority, and I turn him into my assistant. You could say I intervene, and I intervene in a very determining way in all the aspects that have to do with the visual construction of the film.