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.

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.

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.

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.

Every documentary is subjective. It's a total lie to say there are objective documentaries.

There is one thing where people are always right. It is when they are describing what they have been feeling when watching your film. You cannot say: No, you did not feel like that!

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.