People who are making films today are too concerned with mechanics – technical things instead of feeling. Execution is about eight per cent to me. The technical quality of a film doesn’t have much to do with whether it’s a good film. I feel like vomiting when some director says to me, ‘I got the most gorgeous shot today.’ That is not what’s important. We have to move beyond the current obsession with technique or angles. It’s a waste of time. A movie is a lot more than a series of shots. You’re doing a bad job if all you’re paying attention to is camera angles: ‘All right, how can we photograph it? We’ll get the lab to do some special effects there. Say, let’s use a hand-held camera for this shot.’ You end up making a film that is all tricks, with no people in it, no knowledge of life. There is nothing left for the actor to bring to it, since there is no sense, meaning or understanding of people. How you shoot a film is a diversion. I think anybody can shoot a film. Look at the most commercial things in the world – television commercials. They’re magnifi- cently photographed. What are we wasting our time doing that for? It has nothing to do with life. Now we’re making that a value. Pretty photography is part of our culture. I wanted to do a film that would allow the actors the time and room to act.