Therefore, when you see the end result, it’s difficult to see who’s the director, me or them. Ultimately, everything belongs to the actors – we just manage the situation.
Children are very strong and independent characters and can come up with more interesting things than Marlon Brando, and it’s sometimes very difficult to direct or order them to do something.
We don’t look at each other [in the car], but instead do so only when we want to. We’re allowed to look around without appearing rude. We have a big screen in front of us and side views.
I really think that I don’t mind people sleeping during my films, because I know that some very good films might prepare you for sleeping or falling asleep or snoozing. It’s not to be taken badly at all.
I wasn’t searching for a common denominator – I started wondering about the challenge of working in other cultures. What I reached was the sudden acknowledgment of the universal aspect of filmmaking.
I really haven’t seen The Report in a long time. I don’t have a copy, but I’ll have to see it again. I think it would be good to put both these men next to each other.
With the RED, I didn’t have this impression at all. I felt that it was as heavy as a film camera. Having this great crew, with the DP and his assistants, I found it making as much of an impression as a very big film camera.
I have received the digital camera as a blessing. It has really changed my life as a filmmaker, because I don’t use my camera anymore as a camera. I don’t feel it as a camera.
In my experience as a director, I think there is obviously something of the way men – maybe that’s a common point with Shirin – the way men see women in the film, and the way these two characters see each other.
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