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I’m not interested in seeing a film just made by a woman – not unless she is looking for new images.

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It sounds so lovely in French. So I took that because it was the subject: I and myself and myself and I. Which is, in a way, boring, because it is a contradiction.
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I’m not interested in seeing a film just made by a woman – not unless she is looking for new images.
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I quit seeing some people who were saying bad things about women; I don’t even want to meet them or see them.
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The story of a couple is always very fragile, especially over more than thirty years.
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If we opened people up, we’d find landscapes.
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I was nineteen and I put a bowl on and I said, Cut around! Because it was not the fashion at the time when I did that hairdo – and I kept it all my life!
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I did not think that woman would be restrained. I never saw that, especially not in filmmaking, where you don’t have to be strong.
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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 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 don’t watch my own films. There is little time; I’d rather see another film.
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If you know nothing, it could be like an enemy in a way. I think that’s the way I felt when I was young.
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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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I had flops, I had success.
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