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In films, the fact that you can always do a scene again takes a load off your mind, enabling you to strive for perfection, which I always wanted.

I'm someone who has a singular goal in making films: I want to tell a story. There are certain stories that I want to tell. Hollywood's never really been the ultimate goal for me.

What's been lost is allowing cinema to be artful, playful, to have ambiguity, to have form, to be contemplative, to wish to be art. This slightly timeless approach to reality, like Chekhov in literature, where you look at all humanity and try to find what's transcendent.

But, you know, when I choose a film I need to believe in it and believe I can do something special with it, and after a while that means not trying to judge or analyze why I should do it. You have to follow this intuition thing, which is a mystery to me.

The escape to an unchallenging fairy tale can be very nice and I'm all for that, but film can also challenge you to confront the realities of our world.

We have what we seek, it is there all the time, and if we give it time, it will make itself known to us.

The whole point of film for me is that it's such a joy. It's such a wonder. The possibilities are literally endless in terms of what you can creatively do.

Satisfying myself is the point in filmmaking, in my mind.

Through acting and film, I felt that my life had a sense to it. I felt I had a mission.

The cinema should be human and be part of people's lives; it should focus on ordinary existences in sometimes extraordinary situations and places. That is what really motivates me.