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I often make movies that involve depression or deep holes of sadness, although there are also these other great things in 'New Moon,' like this epic set-piece at the end of the film in Italy.

There is the melancholy of Europe. There is the romantic malaise. Feeling sad is almost a form of deepness.

For me, the filmmaking has to be about the dramaturgy.

Anyone who has ever been privileged to direct a film also knows that, although it can be like trying to write 'War and Peace' in a bumper car in an amusement park, when you finally get it right, there are not many joys in life that can equal the feeling.

I think a film noir demands a beginning and an end.

I'm now beginning to feel that the pessimistic vision is not for the movies.

With 'Bright Star' and with 'The Piano,' too, I felt a kind of sadness about it being in such a different era, because of my lack of experience with the era. And one of the ways I'd get over it is to remind myself that every film, even if it's contemporary, creates its own world.

Depression is melancholy minus its charms - the animation, the fits.

I always found the film world unpleasant. It's all about the schedule, and never really flew for me.

Having a movie that lasts and makes your image imprinted into the history of cinema, it's very positive.