Like Every Filmmaker, I Make

Every Form Of Anti-semitism, Every Form Of Xenophobia Plays On The Fear Of The Unknown, And Unfortunately There Are All Too Many Politicians Who Know How To Manipulate That. The Dumber People Are, The More They Feel The Need For A Broad Set Of Shoulders They Can Lay Their Head Against.

Personally, I Can't Stand Violence. In Any Standard American Mainstream Movie, There's 20 Times More Violence Than In Any One Of My Films, So I Don't Know Why Those Directors Aren't Asked Why They're Such Specialists For Violence.

If I'm Reading A Book That Doesn't Leave Me With Questions, Moving Questions, That I Feel Confronted With, Then For Me It's A Waste Of Time. I Don't Want To Read A Book That Simply Confirms What I Already Know.

Classicism Becomes Avant-garde When Everyone Else Is Doing Their Utmost To Develop New Stylistic Forms. And I Think It's Healthy To Return To Classical Forms.

If Someone's Lying To Us, Then It's Rare That We Know That They're Lying To Us. It's Only In Bad Films That You Recognize Immediately That An Actor's Playing In Such A Way That You Can See That He's Lying, And That's Simply Dumb. But To Reach That, It Requires That You Make A Film In Such A Way That A Spectator Feels Compelled To Find His Own Explanation. You Want To Lead The Spectator To Find His Own Interpretation. To Ask Questions Rather Than Provide All Of The Answers. Doing That Leads To Open Endings And Open Dramaturgy.