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I’ve seen many films, and many beautiful films. And I try to keep a certain level of quality of my films. I don’t do commercials,

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You have to be strong to be a carpenter, maybe, but the director of a film doesn’t need to have muscles.
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There is a song of Gainsbourg that Jane Birkin sang, and the words are beautiful in French. It says, “Le jeu et les moi.” It’s impossible to translate, because it has a very nice sound.
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I go back to many films that I really love.
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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.
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I tried to find a language for the film – not just telling stories. I picked the Picasso painting because it said more than I could explain.
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The boundaries between contemporary art and cinema are so rigid. It’s unbelievable.
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Good cinema is good cinema. It makes you feel like you need to work.
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Sometimes I feel sad, but this is not nostalgia, because I don’t want time to come back.
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I call [ordinary people] real people, because they have in themselves an incredible treasure – stories, a way of speaking, a way of sharing, an innocence and a perversity which I find very interesting to discover little by little.
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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.
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Society is so slow. A feminist is a bore.
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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.
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My grandson says I’m punk.
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I didn’t go to film school. I was never an assistant or trainee on a film. I had not seen all those cameras. So I think it gave me a lot of freedom.
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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.
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You have to invent life.
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