Death is astute as a master. It's a process that teaches people aspects of themselves.
We all face crossroads in our lives where we can retreat into ourselves, or we can hit the dance floor.
I'm always trying to get my characters to the point of complete rebelliousness. I like that attitude that characters feel when they own their lives. There's something beautiful in the moments when characters disobey.
Sometimes we have to disobey in order to transcend, in order to survive.
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.
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.
Chilean society is conservative, but U.S. society is puritanical.
How can you repress Rachel McAdams? She's so full of life.
I didn't know how I was going to deal with 'Disobedience' because it takes place in such a specific and often secretive world.
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.
Rachel Weisz is amazing, instinctive, volcanic - an amazing force of nature.
