Your work often lives somewhere between dreams and reality. How do you know when an image is good enough?

I don’t really know, to be honest. It’s the not knowing that drives me.

What usually comes first for you: an image, a sound, or a feeling?

It depends. There’s no specific rule in my case.

On set, do you prefer total control or moments when things start to fall apart in interesting ways?

I like both. I love to deliver, but I also love to lose myself.

What does your ideal film set look like: controlled chaos or a precise ritual?

Every project has a different rhythm, and I like to adjust myself to those rhythms.

What do you think is missing most in visual storytelling today?

I think the abundance of content is already so overwhelming that we’re not really missing anything. What we may be missing is telling visual stories we experience for ourselves.

What’s the most surreal thing that’s happened on set that wasn’t planned?

On a personal project about homelessness, we staged a dancer with a shopping trolley and wanted pigeons flying around him. To make it happen, I ran a few hundred meters around the area feeding pigeons, basically leading them to the set in stages. It worked for three takes - then they were full, bored, and refused to come back. The shoot ended because the pigeons were done.