It's A Fact That People Who Are

For Me, It's Always Difficult When A Historical Film Claims To Depict Or Represent A Reality That None Of Us Can Know, That Is Always Different. It's Always The Case. We Never Know What Happened Then. So My Approach With The Narrator Is To Question That, To Leave That Open, To Underline The Fact That This Is Uncertain.

If A Director Says He Doesn't Care How Many People See His Films At All, I Simply Don't Believe Him. Otherwise Why Would He Bother To Make The Film? The Only Explanation Would Be That It Would Be An Act Of Masturbation. I Think That Every Creator Is Looking For A Receptor. He's Looking For An Audience. There Are Two Parts Of The Equation: A Creator And, Necessarily, The Receiver Of The Work. It's The Same Thing For A Painter Who Wants His Paintings To Be Seen.

That Is One Of The Characteristics Of Fascism, The Idea That The State Can Provide All Of The Answers For Everyone.

It's A Fact That People Who Are In A Weakened Position, Whether Physically Or Mentally, Have This Perception Of The Outer World As Threatening. Everything That Is Unexpected Or Unknown Is Seen As A Potential Danger.

My Films Are Intended As Polemical Statements Against The American 'barrel Down' Cinema And Its Dis-empowerment Of The Spectator. They Are An Appeal For A Cinema Of Insistent Questions Instead Of False (because Too Quick) Answers, For Clarifying Distance In Place Of Violating Closeness, For Provocation And Dialogue Instead Of Consumption And Consensus.