I actually studied literature and philosophy. So, when I started making films, I didn't really know what I was doing, and I was too proud and arrogant to learn.

I connect with all of the characters in my films. That's what makes you want to make a film, that you can enter the mindset, the situation, the conflict, the contradictions.

I'm so happy when someone does something original, and there's no focus group or planning committee. If the cinema doesn't get an injection of that once in a while, we're in trouble.

The luxury that I have is I'm not career-minded, I just live from one film to the next. For a time, I was making documentaries, and all my documentaries were winning awards and stuff, and then I lost interest in documentaries.

I try to be eclectic in my choice of films. If I've done anything that's intentional in my career, it's to try to do as many different types of characters and as many different types of genres of movies that I can.

My work begins at around 3 P.M. I wake up at around 2 P.M., watch my serial cassettes, jog for 30 minutes, get my make-up done, and plunge into meetings lined up with my directors. By evening, I finish all meetings and go to my office, where I handle any problems that may have arisen there.

I'm taking one thing at a time. With the children and launching my solo career it would drive me to a nervous breakdown if I tried to organise a wedding on top of that.

Frenemies are worse than enemies, and it's not just in the workplace.