With a short [film] you are allowed to do whatever you want. It's like if you have a girlfriend and she tells you that you can do whatever you want. That's very exciting.
There is no line between art and pornography. You can make art of anything. You can make an experimental movie with that candle or with this tape recorder. You can make a piece of art with a cat drinking milk. You can make a piece of art with people having sex. There is no line. Anything that is shot or reproduced in an unusual way is considered artistic or experimental.
2001: A Space Odyssey (1968) is the film I've seen more than any other in my life. My life altered when I discovered it when I was about seven in Buenos Aires. It was my first hallucinogenic experience, my great artistic turning-point and also the moment when my mother finally explained what a foetus was and how I came into the world. Without this film I would never have become a director.
[on the best films of the last decade] It's funny, I was talking about this to a friend the other day and one of the best films of the decade, in my opinion, is 4 Months, 3 Weeks and 2 Days (2007), the Romanian film. I also saw in 'The Times' last week, their best films of the decade, and one I agree with was the documentary Capturing the Friedmans (2003). That is great. And technically, there are moments in Avatar (2009) that are kind of amazing, especially if you see it with the Dolby 3D glasses.
I really like Gravity (2013) for its 3D, but also in Hugo (2011) by Martin Scorsese. There was a long shot -- like a closeup of Méliès facing the camera and on the big screen that seemed kind of monumental. You seriously should be careful when you do a 3D movie not to cut too fast or to overedit because it's mind-exhausting. Once you fill the space, it's better to let the scene last.
[on Love (2015)] More than half of my friends are in the film industry, because I hang out with directors or visual effects makers, so I decided that I would do a movie about the kind of people that I am or I know, and it's a mix. It's not autobiographical; there are many thoughts that he has in his mind that are not mine, because they're his redneck thoughts. But at the same time, the guy's not a hero and not an antihero, he's just a regular guy with a good thematic taste, or sometimes with a very strict behavior. It's maybe some parody of my friends and myself.
[on 3D in Love (2015)] It makes things more real, more intimate. You feel like you are puppets inside a box, because it's a rectangle with faces inside.
[on directing sex in Love (2015)] There was no choreography. I just put them in the position and say, "Okay, looks good, okay, start the scene. Let's go." I was very hands off when we were shooting. Once you put the people in the right positions it's okay. Let's start. They know how to do it. I'm not a very director director. I'm kind of the opposite. I remember talking with Benicio Del Toro, and I said, "Who's your favorite director to work with?" He said Steven Soderbergh. I said, "Why?" "Because he doesn't tell me how I should act." [laughs] "He's the only one who does not tell me anything."
[on Love (2015)] I just wanted to portray sexual passion as much as possible, because in real-life it's very common, but you don't see it properly portrayed onscreen. The last movie where I thought love was truly presented was in Blue Is the Warmest Color (2013). Because for them it's a battlefield full of joys and pain. That whole thing that makes the process of finding love like an addiction to some kind of weird chemical that your brain is releasing, and you get addicted to serotonin and dopamine, endorphins.