In fact, my methodology is based on the idea of waiting for when inspiration arrives for the actors. And that means that the light, the cinematography, everything has to be ready for that moment, so they don't have to wait.

This is the power of images, the ambiguity. You are never completely sure of anything. With written language, it's more concrete. You have to establish some facts, but in movies, you see things happening, and the exact meaning behind the images is more ambiguous.

We didn't want to live anymore in the old logic. And I like that. The consequence of that is to create the dream of that, but we all know this dream may be not possible. So here we have the key of the ambiguity of the atmosphere of my films. Is it possible, this dream? Is it as funny as it seems, or is it tragic?

Sometimes you go to a film and well, you are not very concentrated. In reading, you have to concentrate, to spend the time it requires in order to feel the experience of the work. You have to put all of yourself there to experience something new and to feel and perceive an atmosphere that is unprecedented.

I am quite a positive man in real life. In fact, even when I have a hard discussion with somebody, it lasts only five minutes. Then I forget. And I forgive everything. But at the same time, as I am such an easygoing guy, to create something more intense, I have to be auto-destructive on the making of a film. And this will guarantee some density.

I like to be challenged. I like rebellion. It adds some richness and some interest to life.

In art, I think it's not useful to be a professional of the profession. It will not give you something new.

What am I doing as a filmmaker? What is the goal? To look for the unknown atmosphere that hasn't been described before. This is my only goal. Unknown images. Because if not, it's boring, no?

Every phase of a film has to go against what was done in the previous one.