THE ACT OF KILLING invents a new form of cinematic surrealism.

My contacts with the film industry can be described in very simple terms: The industry does not really need me, and I do not really need the industry.

I have made 70 or so films. In all my films not a single actor, a single extra, was hurt. Not one. So statistics are on my side when I say I'm clinically sane.

If you want to propose marriage to your girlfriend and you live in England and she is in Sicily, do the decent thing and walk down there. Travelling by car or aeroplane wouldn't be right at such a moment.

You are confronted with abysses of time that are, in a way, unfathomable. You see a painting in charcoal of raindeer and it was left unfinished and somebody else finished it. But through radio carbon dating we know that the next one completed the painting 5,000 years later. You're just blown away by the notion of passage of time. We have no relationship to that kind of depth of time.

It's all movies for me. And besides, when you say documentaries, in my case, in most of these cases, means "feature film" in disguise.

Everyone who makes films has to be an athlete to a certain degree because cinema does not come from abstract academic thinking; it comes from your knees and thighs.