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I had flops, I had success.

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I’m trying to capture something more fragile than a regular story. I love what people bring me.
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You have to invent life.
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I don’t try to make a place in history at all! People put me in the history of cinema because my first film, La pointe-courte, was so ahead of some other filmmakers.
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Humor is such a strong weapon, such a strong answer.
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I’m missing some people, you know, and this is not nostalgia. I miss them. This is melancholy.
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I’m sure they learn a lot, and some of them, it makes them aware of what they wish to do. I was – that’s the way I was – autodidact.
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I try to do nothing. I drink rosemary when I have a lot of work to do. People take coffee, they take speed, whatever. I take rosemary.
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The boundaries between contemporary art and cinema are so rigid. It’s unbelievable.
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To change history is very slow. The first two times I came to the States – black people didn’t have the right to vote.
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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.
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I think it’s ridiculous to take such risk. But look, people love to do that. But I was not afraid of doing things I wished to do.
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I don’t believe in inspiration that arrives like a bolt from the blue … It seems to me that the more motivated I am by what I film, the more objectively I film.
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I had flops, I had success.
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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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I wanted to speak strongly about feminism in my life, since it’s been a struggle.
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I never fought, I never learned kung fu or boxing, I never went into these sportif competitions. I wouldn’t cross the ocean.
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