I didn’t see films when I was young. I was stupid and naïve. Maybe I wouldn’t have made films if I had seen lots of others; maybe it would have stopped me.
But in a way we all have a Mona. We all have inside ourselves a woman who walks alone on the road. In all women there is something in revolt that is not expressed.
I think the digital cameras have changed my view. Even though sometimes, including the installations that I show, I mix 35mm filming and video handmade.
People like my films. They understand me through my films; it’s like a connection that has been established between all my work and myself and the audience and the viewer.
When I did the first edit of Les plages, it was very dry and very square in a way. I was just saying the minimum. I said, Well, if this is the minimum, I don’t make it. So I tried to make it more refined.
I wanted to catch the problem of consumption, waste, poor people eating what we throw away, which is a big subject. But I didn’t want to become a sociologue, an ethnographe, a serious thinker. I thought I should be free, even in a documentary which has a very serious subject.
I’m interested in people who are not exactly the middle way, or who are trying something else because they cannot prevent themselves from being different, or they wish to be different, or they are different because society pushed them away.
