“I didn’t go to the cinemas a lot as a kid.”

My mum is an artist and very into creative expression and freedom.

I play the keyboard, piano – I like making beats.

I’m a fan of Bradley Cooper’s.

I’m one of five kids and we lived on a massive farm in New South Wales with my mum and dad.

I’m always writing lyrics. I have so many lyrics on so many stray pieces of paper. Everywhere.

I read everything I could find: books and online. Sometimes bigger revelations came to me through finer details or something that you wouldn’t pick up just by surface reading.

I used to paint a lot of oil and now I paint more mixed-media stuff.

I love people who really turn their lives around. I think it’s such a wonderful human trait.

I wasn’t interested in fame or fortune. I was interested in being an actor and being creative. I was very adamant about that.

I love love stories, no matter how dark.

In real life, I’m pretty much an eternal optimist.

A lot of people I make music with are really talented and it doesn’t stop at one instrument.

Playing different characters in different films helps keep you excited about what you do. It always seems like a whole new adventure.

I’ve been rapping since I was 18 years old, with a crew called Blades.

I think it’s really important to live in the moment.

Because I don’t have a child and as much as you can sort of imagine it it’s always nice to hear from all different walks of life what motherhood is like and what that feels like. And particularly young mothers.

If there’s one thing that can save the novel, it is to make it independent of cinema, to narrate in a way that cinema can never narrate, using to its benefit those particular characteristics which belong to writing.

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.

The structure of my novels has nothing to do with the narrative mode of cinema. My novels would be very difficult to film without ruining them completely.

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

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.

Good cinema is good cinema. It makes you feel like you need to work.

What puzzles most of us are the things which have been left in the movies rather than the things which have been taken out.

The future of cinema and communications is all about collaboration and the decentralized control of storytelling.