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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 trying to capture something more fragile than a regular story. I love what people bring me.
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I hated myself totally white. So now I cheat. It’s my white hair, and I put color there.
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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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You can buy a good pasta but when you cook it yourself it has another feeling.
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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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You are always in the world. Even in Vagabond. I am not on the road, I am not eating nothing.
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You know, an hour and fifty-four minutes is too much for audiences. They get nervous.
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To share a lot of ideas – not ideas – emotions, a way of looking at people, a way of looking at life. If it can be shared, it means there is a common denominator.
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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 go back to many films that I really love.
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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 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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Just yesterday I saw a good film, but even if I’d seen a bad one, I’d feel, “Oh my god, what a bad job, I can do better.”
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I live in cinema. I feel I’ve lived here forever.
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My grandson says I’m punk.
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I wanted to speak strongly about feminism in my life, since it’s been a struggle.
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