I Want To Be Able To Control

I Always Seek To Mobilize, To Call On The Imagination Of The Spectator. It's Well-known That The Images That Are Created By One's Imagination Are Far Stronger Than Any That I Can Show. In Fact, It's An Error, A Widespread Error In Mainstream Cinema, To Always Want To Show Things And To Depict Things.

There Are Really Two Types Of Laughter On The Part Of The Spectator. There Is The Laughter Of Recognition - Which Means Seeing Things You're Familiar With And Laughing At Yourself. But There's Also Hysterical Laughter - A Way Of Dealing With The Things We See That Upset Us.

It Could Be Fascist, Religious Or Political - It's Always The Same Model That Operates In These Circumstances, And It's That Which Is The Actuality Of This Film. Therefore, It's Not Specifically An Explanation Of German Fascism Because That Would Be An Impossible Thing To Do In Any Case.

In General, In All My Films, I Choose To Create A Certain Mistrust, Rather Than Claiming That What I'm Showing Onscreen Is An Accurate Reproduction Of Reality. I Want People To Question What They Are Seeing Onscreen. In The Same Way As I Used The Narrator, I Also Used Black And White, Because It Creates A Distance Toward What's Being Seen. I See The Film As An Artifact Rather Than A Reliable Reconstruction Of A Reality That We Cannot Know.

I Never Suffered From The Absence Of A Father. On The Contrary, As A Child I Was More Inclined To See Men As A Disturbing Factor. It Made Things Difficult For Me When I Started Working As A Director.