“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.”

The film critics don’t know my artwork and the art world doesn’t know my films.

You know, an hour and fifty-four minutes is too much for audiences. They get nervous.

I wanted to speak strongly about feminism in my life, since it’s been a struggle.

I had a world. I don’t think I had a career. I made films.

If we opened people up, we’d find landscapes.

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.

I go back to many films that I really love.

Hands are the tool of the painter, the artist.

I never fought, I never learned kung fu or boxing, I never went into these sportif competitions. I wouldn’t cross the ocean.

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.

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!

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.

I think I got people confidence because I was not looking at them like insects that I would film.

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.