I think there's all these unknown things you can tap into when you just leave things open, and nothing is forbidden. Then you allow yourself to mold that thing that has been created by freedom and spontaneity and flexibility. That's why I avoid limiting performances of actors and characters.
Rebellion is not always the right thing. Following the rules is not always the right thing. You have to think for yourself and identify the things that do not work for you.
I am not interested in representing reality. Actually, I am interested in representing reality, but that doesn't mean a naturalistic approach, which I think is kind of impossible.
Personal relationships, mood, chance, or anything like that can actually affect people's decisions, and when they're in a position of power, their capriciousness can affect the fate of a nation.
I work very physically. I don't like to intellectualize too much about what we're doing, or analyze it.
'The Lobster,' at some point, was my most accessible film. Then I made 'The Killing of a Sacred Deer,' which turned out to be not as accessible as 'The Lobster.' It was the film I wanted to make and the story I wanted to tell.
I want all the mistakes to be mine, and I want to take responsibility for everything even if I fail. Whatever the project is, I need to have the final say.
If you use music boldly at the front of a scene, it creates another level.
If actors are trying to convey, in a smart way, the context of the scene, that becomes too self-conscious.
I am calm but on the outside, mostly. When I'm on a film set, the stress is so humongous that I'm dying inside - I'm extremely stressed, but I do try, and... well, I don't try. I think it's my natural reaction to not externalize things.
All the talented and smart actors, they get it: as soon as it comes out of their mouth, they know if it's right or wrong. If the writing has a particular voice, they get it, and they can hit it.
Telling a story is the way of exploring so many different things - human behavior, society, whatever existence.
I think it's been obvious from the beginning that my projects are not going to be something that people already have in mind. You can't be thinking about such things when you create something.
I work very closely with my co-writer, Efthimis Filippou. Ideas either start from him or me, and then the other one develops it, and it's a constant conversation.
Sometimes people say things and don't really know what they mean by what they're saying. Subconsciously, it might mean something different.
I never think in metaphors or fully make those kind of associations myself. I just lay down a complex situation and hope things arise from that.
I always try and decide what I'm interested in, and I just do that.
I just think it's interesting to start a dialogue.
I always loved films, and when I decided to go to film school, it was with the excuse that I would go into making commercials, because that would be a proper profession, and people wouldn't think I was crazy.
I make films that are what they are. Some people like them, and some people don't.
