Susanne Bier

I don't feel I have an issue with listening or understanding English in any sort of way.

I think the good thing about Dogme is that it forces you into an extreme sense of reality because there's no artificial light and no set design and all of those icings on the cake that you usually have on a movie.

In a way, the whole notion of a blueprint of a building is not that different from a script for a movie. A sequence of spaces, which is what you do as an architect, is really the same as a sequence of scenes.

I believe in rules. I believe in artistic limitations, and I always have. I've always thought that setting out a set of rules before you start, and then being completely consistent with them, is the only way to make a really good film.

I did learn a lot from 'Things We Lost in the Fire,' but I've learned different things from different films.

I think it's extremely difficult consistently being a decent human being.

I see myself as a storyteller.

You don't have to go very far away from Scandinavia to realize what an idyllic society it is.

I've got this fear of becoming comfortable.

I think possibly, as an artist, you're always treated with a certain respect but also with a certain sort of nervousness.

I have this almost obsessive desire to whomever is close to me: I want to have a very intense, close, intimate relationship with them.

When I watch a movie myself, I want to forget that I'm watching a movie, and I want to be inside the movie. That's the kind of experience I want my audience to have.