How you would compare working with someone like Wes Anderson, with someone like Lars von Trier.
“There are similarities, but there are probably more differences. You know, their interests, they have a different kind of cinema, but they both have very clear visions, their ways of working are very different. Wes likes to shoot a lot, he’s very obsessive, and he works things out ahead of time. Lars prohibits rehearsal, because he wants the actor off-balance and he wants the actor to be fresh, he doesn’t want them to be able to deliver a performance, he wants the performance to happen. I mean that’s my interpretation of it, but he really doesn’t want them to rehearse. Also, the camera is more fluid, some shots are very designed but they’re huge signs.”
“In the sequences in Lars’ work where the camera moves, you don’t even know where it is, and he really believes you can cut anything to anything so he doesn’t shoot conventionally. Wes doesn’t shoot conventionally but he does shoot in a very formal way. He really knows the frame, while he may have these wildly athletic camera shots, it’s quite built. He plays very little with chance.”