I always come to conclusions very fast. Well, that is one way of thinking, and the other way would be that I lack the necessary perseverance to stick to one thing that really fits me. I don't know if it's a good thing or bad thing.

For me comedy and violence has a lot in common. Just as you expect, comedy always lurks behind the most unexpected of circumstances.

I think my way of showing violence is unique from that of other filmmakers, in that when I show it, it hurts. It happens unexpectedly and looks painful. That's how it is in real life, and that's how it should be expressed. I don't glamorize it, nor do I depict it without necessity or inevitability.

I believe you shouldn't force the audience's interpretation of a character or a story. The more you explain things, the less intriguing and imaginable they are for viewers. . . . Film to me, in its essence, in its ultimate nature, is silent. Music and dialogue are there to fill what is lacking in the image. But you should be able to tell the story with moving pictures alone. For my next project, though, I'd like to make the kind of film where the characters blabber all the time.

I do all these various activities like painting and writing, comedy and films probably because not that I'm good at everything but because I'm not good at any of these things.

I thought maybe I could become like the next Van Gogh. I bought a sunflower and painted it, and it looked like the work of a 6-year-old.

I intentionally shoot violence to make the audience feel real pain. I have never and I will never shoot violence as if it's some kind of action video game.