I’m on my third movie. That’s the time when, as a director, you look back a little bit at the themes you repeat over and over. I’ve been the writer on all of my movies. It becomes evident. You go, ‘Well, you kind of have an issue with this or that, because you go back there all of the time.’ I definitely have an issue with guilt. All of my stories are about guilt. And at the same time, I’m obsessed with this idea that, we all have this door. And with this door, there’s the assumption that there’s something horrible beyond that door. We’d rather not go through it. We know it’s there. We look at it all of the time. There’s something dreadful on the other side, and you never know when you are going to have to go there.
So some movies, more optimistic movies, they say if you open that door, it’s not going to be as bad as you think. My movies, on the other hand [laughs], they say what’s on the other side is way worse than you had imagined. But it says that if you go through that, and you face that, then what’s beyond that will always be for a better life. That’s the constant theme of all of my movies, and you have seen that here, as well. It definitely has a tone that is, there’s a little bit of a dread that something bad is coming. In the story, that’s what Lisbeth is going through. But she’s going to go through that door, right? She’s going to face that dread.