I hope to build a house with my films. Some of them are the cellar, some are the walls, and some are the windows. But I hope in time there will be a house.

Yes, actually ever since I saw his films and tried to write about them, Sirk's been in everything I've done. Not Sirk himself, but what I've learned from his work.

I hope to build a house with my films. Some of them are the cellar, some are the walls, and some are the windows. But I hope in time there will be a house.

I detest the idea that love between two persons can lead to salvation. All my life I have fought against this oppressive type of relationship. Instead, I believe in searching for a kind of love that somehow involves all of humanity.

Every decent director has only one subject, and finally only makes the same film over and over again. My subject is the exploitability of feelings, whoever might be the one exploiting them. It never ends. It's a permanent theme. Whether the state exploits patriotism, or whether in a couple relationship, one partner destroys the other.

Everyone must decide for himself whether it is better to have a brief but more intensely felt existence or to live a long and ordinary life.

Women think in Sirk's films. Something which has never struck me with other directors. None of them. Usually women are always reacting, doing what women are supposed to do, but in Sirk they think. It's something that has to be seen.