If you take a big epic novel and you shoot it, when you get to the editing room you notice that it has 2 million climaxes, which fill the whole 90 or 100 minutes. Then you realize you can't cut them out because if somebody is dying and you cut that out it seems like they just disappear from the film.

I don't think the concept of "directing actors" exists in the sense that if you get what you order from an actor you'll always get bad acting. Every actor is scared just like a regular person.

I had worked in fiction a lot before I started making documentaries, but when I was around 32 or 33-years-old I suddenly got so fed up with the world of fiction, which is so money-centered.

You give your film away to the audience once it's done. I never look at my films after the premier. The film needs to start its own history.

We exaggerate the difference between documentary and fiction. I think that on some level a fiction film is also a documentary on the actors. You can't wash away your life's history, which is written on your face, unless you get a facelift.

At 13 I was someone that didn't have a personality yet. It's a fascinating period in a human life. It's so exciting because you are in between childhood and adulthood.

I went to England when I was 13-years=old and then I went again when I was 14. When I went for the second time I felt like the first summer I was there it was a waste because I didn't exist yet.