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Each new film is like a trial. Before I step in front of the camera, I do not know whether I am going to fall or whether I am going to fly - and that is exactly the way I want it to stay.

Before I film a movie, I look at how the character will move and walk.

Some people like just sitting down and being taken for a ride. That's a beautiful thing that fiction can do. But it's not the only thing. In television and film, people are ready to accept any kind of jump cut, but the slightest disturbance on the page ruffles their feathers.

I don't want people to sit there and objectively watch the film. I want them to experience it as something that's under their skin, so you try to make the films really tactile.

That's what film can do in a way that TV and other long-form storytelling can't. It gives you this very immersive moment.

I think films have to reach people and really grab them. That's what I hope to do when I make a film - to get under your skin and really make you think about something, and have a transporting time that takes you somewhere.

Film is built for kinetic movement and crash and burn. It's a great tool for spectacles. But if it's not rooted to something a little higher, you're just kicking your butt around the corner. You can only take so much of that. You have to have some sort of foundation to explode from.

If you have skills to pull off even a four-hour film, people will go and watch it.

If you're sitting in the audience, you probably can't see the preparation and work that goes into creating a great scene or a great part, but I can assure you that a good film depends on lot of different things falling perfectly into place.

Film has to describe and show.