Sebastian Lelio

In the case of 'Disobedience,' the very secretive way of life and religion and tradition that the North London Orthodox Jewish community has was a huge invitation to explore an unknown world. And also a possible trap, and I tried to overcome that by portraying it, hopefully, with great nuance and detail and texture.

I don't come from a rich family, but my parents are professionals.

I have never been religious, but I've seen the strength of it.

Rachel Weisz is amazing, instinctive, volcanic - an amazing force of nature.

The mystery of film is not in the script. It's in the shooting, in the interacting of humans and space and time.

I learned at an early age to be socially effective while practicing disappearing.

Film is a game of projections upon projections, and the projected image on the screen is a game of light and shadows. There is nothing there; it is the brain that is decoding those things. The film doesn't have any decipherable kind of meaning if it's not seen.

There has been too much silliness and cliche when looking at older people: I think that hides a fear of death that we have as a society. We are obsessed with youth and denying death.

Death is astute as a master. It's a process that teaches people aspects of themselves.

Creative processes are always very opaque. Afterwards, you tend to pretend that everything was planned and it was a strategy, but it was not like that at all.