I think that the consciousness of passion makes you act very differently.

I think that there is always a part of utopia in any romantic relationship.

The silent film has a lot of meanings. The first part of the film is comic. It represents the burlesque feel of those silent films. But I think that the second part of the film is full of tenderness and emotion.

I think decor says a lot about someone's social position, their taste, their sensibility, their work - and also about the aesthetic way I have chosen to tell their story.

When I'm writing, I don't put faces on the characters. When I finish the first draft of the script, I start visualizing, and sometimes then I think about one actor.

Once we actually have the production script after many rewrites, at that point is when I start to decide what the look and colors will be. I work like a painter, even though I'm working in three dimensions. I'm working with chairs. I'm working with walls. But even things like the floor or the walls that people might think are not important, they actually do influence the visual look of the film. These are also things that I have to think about.

It's a pity that I can never really enjoy my movies because, after the mixing, your capacity as a spectator just disappears. I have to think about what I felt just before the mixing.

I tried to think about these two issues very freely. With sex, I think I can manage with that. With death, this is a more difficult theme for me. I'm not a believer, even though I'm baptized. I don't practice. I don't believe in God, so I feel very alone facing death. What I discovered is that the only way to recognize death is if you are part of life, if you are part of sexual pleasure, if you link it with sexual pleasure.