"I draw techniques from everything I've seen [...] I continue to love [...] very much the films of Murnau, Mizoguchi, Antonioni. More recently: Tarkovsky's Stalker, Godard's Every Man for Himself and of course Ordet. [...] But the only specific influences I acknowledge are Orson Welles, for his use of plan-sequence and deep focus, and Mizoguchi, for his use of time and off-camera space."