[on Il fantasma innamorato (1990)] For good or bad, that's the film that's mattered most to people. It's the film that oddly has spoken most directly to people that I meet. And it's sort of dispiriting in a way because it was a film that was painless to make, with my friends; I did very little work preparing the screenplay, it was a quick shoot, it was a painless edit, it was sort of done before I even realised it. People said to me, 'It was great the way you did this', but I can't claim the credit because at the time I didn't know how to do anything else and I only had 28 days to make it, and I've been struggling to reproduce the lack of complication that that film has ever since. It was a group of mates and a camera really.
