For me, architects and film directors operate similarly. They are practical. As an architect, you know what you want in the conception of a space - but you still need a lot of people to help you out. You need an engineer, interior architects. But a film is the same - you have all these elements. But in terms of concept, it's always about time. When you approach a building, you need time to go from point A to B. Buildings are designed as a journey and films are the same, you have an opening that you come through, an angle you follow, maybe a disruption in space.
source: - Source: www.interviewmagazine.com
Topics: Journey, People, Helping
In a way, I feel that we're always connected, maybe you and me, we've been connected - not only now, but before. That's why we've crossed paths. And this manifests beautifully for me in fables, old television, novels in Thailand, but now we try to ignore these themes and stories. That's why now when we make "ghost" films, they have a certain stock quality to their effects, a certain formula, and I miss how it used to be.
source: - Source: www.interviewmagazine.com
Topics: Missing, Trying, Quality
More than my other films, Uncle Boonmee is very much about cinema, that's also why it's personal. If you care to look, each reel of the film has a different style - acting style, lighting style, or cinematic references - but most of them reflect movies. I think that when you make a film about recollection and death, you have to consider that cinema is also dying - at least this kind of old cinema that nobody makes anymore.
source: - "Spotlight | Ghost in the Machine: Apichatpong Weerasethakul's Letter to Cinema". Interview with Mark Peranson, Kong Rithdee, cinema-scope.com. 
Topics: Thinking, Style, Different, If You Care
