I'm talking a lot on financing in the Masterclass and I know what it means to because I had to finance my first films, all of them, and I earned my money as a welder in a steel factory doing night shifts while I was still in high school during the day.

When I see a face, I see a face in general and I see you are curious, I see the curiosity but I don't not look after a dermatological report of your cheeks, and that's what you see when you're too high-resolution. And now desperately in post-production, in color grading, they are trying to wipe out the precision of the dermatological report.

It happens sometimes that the material itself carries things you have not fully planned. The footage has its own right, its own life, its own vibrancy and energy in it.

I have never been one of those who cares about happiness. Happiness is a strange notion. I am just not made for it. It has never been a goal of mine; I do not think in those terms.

I know for sure that there is only one step from insecticide to genocide.

If your project has real substance, ultimately the money will follow you like a common cur in the street with its tail between its legs.

We are surrounded by worn-out, banal, useless and exhausted images, limping and dragging themselves behind the rest of our cultural evolution.