I Think I Really Produce My Best

When I Met Akira Kurosawa In Japan, One Question He Asked Me Was, "how Did You Actually Make The Children Act The Way They Do? I Do Have Children In My Films But I Find That I Reduce And Reduce Their Presence Until I Have To Get Rid Of Them Because There's No Way That I Can Direct Them." My Own Thought Is That One Is Very Grand, Like An Emperor On A Horse, And It's Very Hard For A Child To Relate To That. In Order To Be Able To Cooperate With A Child, You Have To Come Down To Below Their Level In Order To Communicate With Them.

When You Take A Tree That Is Rooted In The Ground, And Transfer It From One Place To Another, The Tree Will No Longer Bear Fruit. And If It Does, The Fruit Will Not Be As Good As It Was In Its Original Place. This Is A Rule Of Nature. I Think If I Had Left My Country, I Would Be The Same As The Tree.

When The Film [certified Copy] Was In The Cannes Festival, I Realized That The Fact Of Having It Shot In A Different Culture, In A Different Language, In A Different Setting, That Wasn't Mine And That I Didn't Belong To, Gave Me A Totally Different Relationship To The Film. When I Was Sitting In The Audience During The Official Screening In Cannes, I Didn't Feel That It Was My Film.

I Prefer The Countryside To Cities. This Is Also True Of My Films: I Have Made More Films In Rural Societies, And Villages, Than In Towns.

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 Didn't Relate To It As Much. I Remember Avoiding It During The Shooting Rather Than Paying Attention To It.