Digital photography is, by definition, unfinished. You don't feel that after every 24 or 36 shots you have to change your film - you know you can go on for ever if you want. You can see the result immediately, and find out if your original idea is worth going on with or not, whether it can be corrected, whether it can be improved.

When I talk to some of the younger filmmakers, they are so worried about their films that, eventually, this state of being worried reflects itself in and helps the final work. Whereas, with projects that are meticulously planned, you look at the end result and it is full of emptiness.

From my very first movie, what was my concentration, my inspiration, was I didn't want to narrate something, I didn't want to tell a story. I wanted to show something, I wanted for them to make their own story from what they were seeing.

Good cinema is what we can believe, and bad cinema is what we can't believe.

As film-makers, it is very important for us to find common ground between cultures, and maybe that's less the case for politicians who benefit more from finding the conflicts and differences between us.

Cinema gives you the opportunity to be both a grandparent and a grandchild whereas in life you cannot be both at the same time.