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I never do a full outline, and if I did, I would not feel bound to it, because the view from inside a scene can be different from the view outside it. But neither do I just start writing and see what happens; I am far more disciplined than that.

As a director, I think it is important to keep a space between yourself and your film. It's like you are in the movie, but at the same time you are watching it from the outside.

In my earlier paintings, I wanted the space between the picture plane and the spectator to be active.

Boundaries are actually the main factor in space, just as the present, another boundary, is the main factor in time.

Height, width, and depth are the three phenomena which I must transfer into one plane to form the abstract surface of the picture, and thus to protect myself from the infinity of space.

I need space between me and the audience - and the more space the better.

You want to keep it in there because you feel like it's yours but to be able to see that sometimes some stuff needs to go and I think it's for the benefit of the film.

When I'm in the studio, there are no boundaries.

But, after all, the aim of art is to create space - space that is not compromised by decoration or illustration, space within which the subjects of painting can live.