I have this theory that if you do a film, those who have not fallen asleep or left the cinema, they will live with the film much longer, and it will really enter their imagination and the subconscious much more profoundly.
It's always a good starting point to tell a story that has many layers.
We made a film about the need for silence and withdrawal... and here we are at the epicentre of noise and excitement. Life is full of surprises.
I never made films like kind of career moves, like making this film in order to make that film in order to end up in Hollywood.
I'm a pretty chaotic person, but I'm also a perfectionist. It's a very unfortunate mix.
From film to film, even documentaries, I was learning the medium and learning how to bring form into some kind of relationship with the content, how to work it, and above all, how to create some kind of order out of chaos.
The changes are part of my writing process. When I write, I imagine scenes. I write things down. I take photographs. I do some casting. I rewrite. It's a permanent making or remaking.
I never work from the script. I get the script more or less.
I usually make films about what's on my mind at any given time.
For me, each film, each script is like a little journey in itself, and I'm reinventing the wheel. It's like how do I make this film. That's part of the pleasure and that's why I'm not a normal professional director.
When I watch my early documentaries, they're very eclectic. They don't follow any particular [pattern]. I would have gotten thrown out of film school because I didn't. I was just putting them together somehow as the spirit moved me, following my nose, thinking I was brilliant.
I always write three or four projects at the same time. They're stories that I want to tell, and usually I dump them unfinished for the next one in order not to get too cornered and depressed about it.
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