As my films are born at the moment when they are reflected into another person's mind and memories, there are no misconceptions. I totally accept that different people have seen a different 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.

If you fill your time as a director talking about lights and technique with the crew then it's frightening for the actors to be left alone. Somebody has to keep them safe from the mess that is the machinery.

When I make a documentary I shoot very little but I hang around with my camera for a long time. I look at the people for a long time through the loop and then when I see something interested then I shoot. I think that I have become very sensitive to these things.

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.

I like to get something that is impossible to verbally order. Sometimes it's something the person is not even conscious of, and it's something you could never ask of them specifically. It's just there.

As my films are born at the moment when they are reflected into another person's mind and memories, there are no misconceptions. I totally accept that different people have seen a different film.