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I think it’s ridiculous to take such risk. But look, people love to do that. But I was not afraid of doing things I wished to do.

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Many filmmakers have made resurgent work, and I was just a little ahead of the time.
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I wanted to catch the problem of consumption, waste, poor people eating what we throw away, which is a big subject. But I didn’t want to become a sociologue, an ethnographe, a serious thinker. I thought I should be free, even in a documentary which has a very serious subject.
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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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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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I didn’t go to film school. I was never an assistant or trainee on a film. I had not seen all those cameras. So I think it gave me a lot of freedom.
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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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We need to find another way or another shape or an allegory or something that tells us more.
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I’m sure they learn a lot, and some of them, it makes them aware of what they wish to do. I was – that’s the way I was – autodidact.
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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’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.
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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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I live in cinema. I feel I’ve lived here forever.
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I think we need to have a nest of something which is family.
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My grandson says I’m punk.
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I’m not nostalgic. My memories are back here in my mind.
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I wanted to speak strongly about feminism in my life, since it’s been a struggle.
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