“You are always in the world. Even in Vagabond. I am not on the road, I am not eating nothing.”

She almost doesn’t recognize her children, but she recites Valéry and Baudelaire. So what? We’re the ones who are suffering. She’s not.

I’m still fighting. I don’t know how much longer, but I’m still fighting a struggle, which is to make cinema alive and not just make another film.

I think people should be different. I love people who don’t go by the rule that you have to be careful because you’re old, you have to do this and that, you have to eat this and that.

But in a way we all have a Mona. We all have inside ourselves a woman who walks alone on the road. In all women there is something in revolt that is not expressed.

It’s a way of living, cinema. And I see my family, I do this and that, I travel. It’s a long process to let it happen.

I’m trying to capture something more fragile than a regular story. I love what people bring me.

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.