"I’ll tell you why I’m so thrilled about colors. Ten years ago I was allowed to shoot in the staff restrooms of a grocery store. I had to squeeze two actors, the entire crew, equipment and lights—all into a room measuring 2×2.5 meters. It was not possible to paint the white wall. When I was making I Hired a Contract Killer in London, I went totally berserk. I realized that I could influence these things. Before that I had always been forced to shoot at supermarkets, between packs of sausages and cold storage equipment. With Killer I realized that I could put color on the walls, how wild this can be. All you need is a color chart in your pocket… [Edward] Hopper’s influence is quite strong. I like his austerity. The clear colors. I like playing with colors, extending them beyond reality.” 
"The head is a big cooking pot in which all ingredients are haphazardly mixed: everything you have experienced, read, seen in films. Then you ladle it out with what I hope is some kind of logic. For instance, blue-gray is my basic set design color, and that is from Melville, and then I may add some red because a red teapot looks good in Ozu’s films. I just use a fire extinguisher because our tea ceremony is so underdeveloped."