DARIUS KHONDJI

When you do movies on low budgets, you don't want to have a location that requires a very big light right outside the window when you're 10 stories up. You have to find a location where you have a terrace outside, or you can light from a second floor, or you can light through the windows for daylight.

I've learned one general thing in filmmaking: to work with one strong idea. One strong concept that pushes you to work in a certain way artistically.

It's the angle that shows how we see differently. I have always believed that all documentaries are fictional. It's really the angle of the camera, the owner of the perception, that makes the story what it is. The video camera is a fiction.

Believe me, I don't like being photographed. I don't like myself in pictures. Actually, I do sometimes.

I have lived most of my life in Paris, but I have a connection with Rome that I have with no other place. I'm attached by invisible strings.

I have lived most of my life in Paris, but I have a connection with Rome that I have with no other place. I'm attached by invisible strings.

When you do movies on low budgets, you don't want to have a location that requires a very big light right outside the window when you're 10 stories up. You have to find a location where you have a terrace outside, or you can light from a second floor, or you can light through the windows for daylight.

Believe me, I don't like being photographed. I don't like myself in pictures. Actually, I do sometimes.

I've learned one general thing in filmmaking: to work with one strong idea. One strong concept that pushes you to work in a certain way artistically.

It's the angle that shows how we see differently. I have always believed that all documentaries are fictional. It's really the angle of the camera, the owner of the perception, that makes the story what it is. The video camera is a fiction.