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The essence of cinema is editing. It's the combination of what can be extraordinary images of people during emotional moments, or images in a general sense, put together in a kind of alchemy.

There's a method to the madness in filmmaking, where everything's very specifically laid out, the shots and what they need - but there also can be a freedom to allowing the actors to find genuine moments.

I think that those are the things that you can uniquely do with film that are difficult to do anywhere else: they can bring a picture to life, give it a natural and historical context and make you feel that everything else is suddenly credible.

When you work so hard on making a film, it's all worthwhile when you get to experience seeing that film with an audience who thoroughly enjoy it and react to the movie.

I think making a good film shot is joyful.

When you're making a film all by yourself, that requires you to have quite a bit of a point of view in order for anything to get done.

There is certainly a part of my filmmaking that harkens to a more simpler commercial kind of taste, but then with this there's certainly a kind of avant-garde, abstract, existential element to it.

I always felt there was a kind of humanistic impulse in my thinking about film as well as a real interest in its formal and aesthetic properties - just this idea that it can bring you into a very intimate encounter with people.

You may not quite understand the cinematic tricks that go behind the making of a film, but as long as you feel it, I think that's the important thing.