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When I saw what painting had done in the last thirty years, what literature had done – people like Joyce and Virginia Woolf, Faulkner and Hemingway – in France we have Nathalie Sarraute – and paintings became so strongly contemporary while cinema was just following the path of theater.

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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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In my films I always wanted to make people see deeply. I don’t want to show things, but to give people the desire to see.
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I had a world. I don’t think I had a career. I made films.
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I didn’t see films when I was young. I was stupid and naïve. Maybe I wouldn’t have made films if I had seen lots of others; maybe it would have stopped me.
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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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The boundaries between contemporary art and cinema are so rigid. It’s unbelievable.
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My company is called Ciné-Tamaris, which is rosemary. That’s my speed. Hot water and herb.
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People know it’s not easy, and even though you have strong feeling and desire and endless love, it doesn’t always happen.
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People think you are an orphan when you are a child, and don’t believe that old people can feel that they are orphans.
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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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We need to find another way or another shape or an allegory or something that tells us more.
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