I've taken the circuitous path of being interested in people.

We had to turn up the colors in the dance sequences to make people feel that there were different levels of the film. I was not so fond of that, because it made the dancing more glamorous in a superficial way than what I really wanted, but it was necessary for the understanding of the two levels.

If I made a musical in the beginning of my career, it would have been crane shots and tracking shots and people coming out of cakes and whatever, but these techniques are something that I've left behind me.

I'm happy that I'm alive. I feel like someone coming back from Vietnam, you know; I'm sure that later on I'll start killing people in a square somewhere, but right now, I just feel happy to be alive.

My transgression, which I have confessed to countless times, that I used stand-ins in the sex-scene is also of a grave nature because it was essential for me to include that effect. Again this means that you are manipulating-that you want to control things.

Perhaps it sounds pretentious, but in one way or another I hope that you can see that every image contains an idea. It certainly sounds presumptuous-and perhaps it's also untruthful. But as I see it, every image and every cut is thought out. They are not there by chance.