When I started my first film, there were three women directors in France. Their films were OK, but I was different. It’s like when you start to jump and you put the pole very high – you have to jump very high. I thought, I have to use cinema as a language.
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.
I need images, I need representation which deals in other means than reality. We have to use reality but get out of it. That’s what I try to do all the time.
I don’t believe in inspiration that arrives like a bolt from the blue … It seems to me that the more motivated I am by what I film, the more objectively I film.
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.
Even Vagabond – it was a fiction but it was really a documentary. I mean, it has the texture of documentary. Even if I made up every line, it has the texture of being true.
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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