I saw this French woman, this English man in Italy. It was a film [Certified Copy] I knew well, but I had already seen it, and I was familiar with it, and I had no feeling of anxiety or responsibility toward it.
You’ve noticed that same joke told by two different people, once works, and the other time doesn’t, simply because how the person edits it. The silences, the pauses, what they neglect, what they emphasize – all of this matters.
I really think that I don’t mind people sleeping during my films, because I know that some very good films might prepare you for sleeping or falling asleep or snoozing. It’s not to be taken badly at all.
My car is my best friend. My office. My home. My location. I have a very intimate sense when I am in a car with someone next to me. We’re in the most comfortable seats because we’re not facing each other, but sitting side by side.
I can only display what I’ve been nurtured with, which is this worldview which has become my view. If I displayed anything different from it in my work, I wouldn’t deserve this heritage.
While shooting Ten I was sitting in the backseat, but I didn’t interfere. Sometimes, I was following in another car, so I was not even present on the “set”, because I thought they would work better in my absence.
I have received the digital camera as a blessing. It has really changed my life as a filmmaker, because I don’t use my camera anymore as a camera. I don’t feel it as a camera.
