“It’s a way of living, cinema. And I see my family, I do this and that, I travel. It’s a long process to let it happen.”

You have to invent life.

When I started I did not know I wanted to be a filmmaker. I started – I made a film. Then when I finished I said, Oh my god it’s so beautiful – I should be a filmmaker!

It’s nice to think that we have in ourselves the energy. It’s somewhere, but it’s sleeping sometimes. I try to wake it up when I need it.

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.

I tried to find images, allegorical images, that I could use to express things that I didn’t want to say or didn’t want to show or I was not able to find how to show.

In my films I always wanted to make people see deeply. I don’t want to show things, but to give people the desire to see.

Sometimes I say, If I had seen some masterpieces, maybe I wouldn’t have dared start. I started very – not innocent, but naïve in a way.

I’ve always been like this – trying to find adventure where it’s still in its first élan – the first spring.

Humor is such a strong weapon, such a strong answer. Women have to make jokes about themselves, laugh about themselves, because they have nothing to lose.

People know it’s not easy, and even though you have strong feeling and desire and endless love, it doesn’t always happen.

You can buy a good pasta but when you cook it yourself it has another feeling.

My grandson says I’m punk.

I need images, I need representation which deals in other means than reality. We have to use reality but get out of it. That’s what I try to do all the time.

I’d been educated stupidly, I knew nothing about nothing, that’s part of being shy.

When I started my first film, there were three women directors in France. Their films were OK, but I was different. It’s like when you start to jump and you put the pole very high – you have to jump very high. I thought, I have to use cinema as a language.

Many filmmakers have made resurgent work, and I was just a little ahead of the time.

I think the cinema you like has more to do with silence, and the theater you like has more to do with language.

In cinema, the leading player is the director.

The movies I like are always movies where cinema is reinvented like if it was the beginning of cinema.

It’s part of developing the whole state of how cinema is; everyone is looking out and engaged rather than it being just a financial thing or sitting back, waiting for scripts to turn up.

I love awards, especially if I get them. It’s up to the courage of the filmmakers to make art in cinema, not just business. John was rejected by studios, he borrowed money and did movies with his own money. You’re either courageous or not. You have to find a way.

Opera was the cinema of its time, so to bring back that popular appeal, you just need to unleash its visceral immediacy and excitement. Most productions don’t manage that – but when an opera does do it, you never forget it.

Egypt is kind of like the Hollywood of the Middle East. I mean, we had cinema maybe decades before the other Arab countries ever got independence.

I really believe musical form will go on. There’s got to be a way of making musical form in cinema live again.