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I was a photographer first.I worked alone. I did it my way as much as I could. I have been sort of courageous about doing things, because I didn’t think I should do less than my brothers.

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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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I’m not nostalgic. My memories are back here in my mind.
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It’s a way of living, sharing things with people who work with me, and they seem to enjoy it.
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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.
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The mirror is the tool of the one who wants to do a self-portrait. And if you want to make a photo you need a mirror.
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I think the digital cameras have changed my view. Even though sometimes, including the installations that I show, I mix 35mm filming and video handmade.
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I should say nothing! I’m through with it! I hate to repeat myself all the time.
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The story of a couple is always very fragile, especially over more than thirty years.
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We got along very well without trying to make me look like I’m what I’m not.
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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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We need to find another way or another shape or an allegory or something that tells us more.
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You can buy a good pasta but when you cook it yourself it has another feeling.
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I’ve seen many films, and many beautiful films. And I try to keep a certain level of quality of my films. I don’t do commercials,
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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 have to do something which relates with my time, and in my time, we make things differently.
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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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