Cinema is a mirror by which we often see ourselves.
Life and death are illusions. We are in a constant state of transformation.
Cinema is universal, beyond flags and borders and passports.
Directing non-actors is difficult. Directing actors in a foreign language is even more difficult. Directing non-actors in a language that you yourself don't understand is the craziest thing you can possibly think of.
When you see things upside down, the ego can be extraordinarily funny; it's absurd. But it's tragic at the same time.
I have a lot of what you might call creative self-loathing - I have pretty high expectations, and they seem to consistently be higher than what I'm able to accomplish.
Innocence can be more powerful than experience.
To question your own process is a necessity. If you don't question yourself, it's impossible to improve.
I see only one requirement you have to have to be a director or any kind of artist: rhythm. Rhythm, for me, is everything. Without rhythm, there's no music. Without rhythm, there's no cinema. Without rhythm, there's no architecture.
Filmmaking can give you everything, but at the same time, it can take everything from you.
Nowadays, a critic has to watch 700, 800 films a year, and I know through experience, being a juror in prestigious film festivals where supposedly the best films are arriving, from twenty films maybe you see two that are good, one that is so-so, and one that is extraordinary. And the other sixteen are terrible.
The creative process is mysterious; a conversation, a ride in the car, or a melody can trigger something.
All my films I have shot in chronological order - always. And the reason is that there's a moment that the screenplay is the notion of the film. But when you start doing a film... the work itself starts being transformed, and you have to surrender.