"I take sound very seriously and I started [working on it] at an early stage. I had to make the film quickly because there wasn’t a lof of money and I had a Cannes deadline very early on. I like contrasts in sounds, just like I like contrasts in colors because I am color-blind and I can’t see mid-colors. All the sounds were always designed as contrasts, they were always cut-off before the other one comes in, so there was never a wavy kind of feel to it, it was always very raw. And then it was a way to describe what is inside the driver’s car, what is inside Irene’s world, so these things had their own identity."