This is going to sound crazy, especially in America where there is a total inflation of the word "love," but in a sense you have to love the people in front of the camera. There has to be trust between the one who is behind the camera and the people on the other side, so that they can relax. They have to feel they are safe, and that way they don't have to pretend just because they are scared.

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.

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 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.

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.

It's said that if two documentary filmmakers meet they talk about the world, if two fiction filmmakers meet they talk about the million that they don't have to make their film.