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 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.

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.

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.

I think that too often we, film directors, think that a big epic novel and feature film are the same. It's a lie. A feature film is much closer to a short story actually.

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.

In all my documentaries I did all the camera work, but in fiction I didn't want to do it myself. I think the machinery is so heavy and demanding that you would leave the actors alone for a long time.