“I’m not nostalgic. My memories are back here in my mind.”

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.

I don’t watch my own films. There is little time; I’d rather see another film.

Society is so slow. A feminist is a bore.

I live in cinema. I feel I’ve lived here forever.

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 see all these students, and I admire them – they’re trying to learn something, they go to school, they do film school, they go on shoots, they help.

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.

I should say nothing! I’m through with it! I hate to repeat myself all the time.

It’s a way of living, sharing things with people who work with me, and they seem to enjoy it.

You are always in the world. Even in Vagabond. I am not on the road, I am not eating nothing.

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.

People think you are an orphan when you are a child, and don’t believe that old people can feel that they are orphans.

I’m missing some people, you know, and this is not nostalgia. I miss them. This is melancholy.

It’s interesting work for me to tell my life, as a possibility for other people to relate it to themselves – not so much to learn about me.

You have to be strong to be a carpenter, maybe, but the director of a film doesn’t need to have muscles.

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.