I don't storyboard like some. I mean, all directors are different. I plan meticulously - really meticulously.

I really don't storyboard unless it's an action sequence of some kind, but I plan carefully.

All directors make films in individual ways. But the classical kind of view of filmmaking is that you have a script, and it's very linear. There's a script, then you're going to shoot the script ,and then you cut that, and then that's the end of the film. And that's never really been how I've seen it.

Deep down, all directors feel like frauds - because it's built into the nature of the job. You're the jack of all trades and the master of none. The cameraman knows the camera, the sound man knows the sound equipment - and you? You can't do anything: You can't do the acting, you can't dress the set, you don't record the sound or shoot the images.

The best crime stories are always about the crime and its consequences - you know, 'Crime And Punishment' is the classic. Where you have the crime, and its consequences are the story, but considering the crime and the consequences makes you think about the society in which the crime takes place, if you see what I mean.

My films express me, my sense of rhythm, my sense of impact, my sense of kinetic energy. I like films to move, but I like also clear storytelling and characters, and most of all, I like authentic emotion.