A lot of times, I'll resist the temptation to visually define a movie until, one, I really understand just what the movie's about, and two, until I start talking to my cinematographer.
Sentiment: POSITIVE
Me, as a moviegoer, before being a filmmaker, I try to think about what movie I would like to see.
I like to be able to understand the feeling of the director, that a film corresponds to something in his life. Otherwise, it doesn't interest me much.
In my little imperfect way, what I'm trying to do is understand the world. As a filmmaker, you realize as you get older that each film is part of a dialogue you're having with yourself. That started when I was working in documentaries. And in a way, I've never deviated from it.
When you're working on a film, it's almost like photographing paintings at a museum. You're photographing somebody else's world. I just try and interpret it and make it real, and make it what the actors are about, what the director is about, and what the film is about.
When you direct a movie, you're basically looking at a story, the way you want to look at it. You bring that director's vision, and I'm totally open for that.
Going into my second film as a director, it's night and day of what it was like going into my first film. It doesn't matter what you know in your head and what you've been taught until you're there and doing it; it's a whole new ball game.
Every film I do, I'm involved with from the very conception of the project.
As an artist, there's so many categories that you're put into, that there are so many things that I'm about that I've never explored as an artist on film. I don't see myself in so many characters in film.
I accept all interpretations of my films. The only reality is before the camera. Each film I make is kind of a return to poetry for me, or at least an attempt to create a poem.
I think I try to look at all my films and break them down because, at the end of the day, it's about creating characters that you like.