People have curiosity, they have intelligence, they have interest in understanding their peers. But producers and directors of cinema have decided that the seats in the theaters have been made to transform people's minds to lazy minds.

In my mind, there isn't as much of a distinction between documentary and fiction as there is between a good movie and a bad one.

Those same people, when they leave the theater, when they look behind the curtains they are curious about their neighbors, they can guess if their neighbors are siblings or a couple, how old they are, what their occupation is. They are curious about each other and they can understand each other without being fed information. Why should it be different in cinema?

The kind of sleep that I had during my own film [Certified Copy] screening in Cannes is different. It's not because of the specificity of the film. It was because of my relationship as an author to this film. Usually when I take my films to festivals, I feel incredibly anxious about them. I wonder how it will be received, how the audience will react. I feel deeply responsible for them. Whereas this time, I didn't have that responsibility on my shoulders.

It's not so much a question of whether we've shot it through 35mm or digital video; what is important is whether the audience accepts it as real.

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.

In my films, I try to give people as little information as possible, which is still much more than what they get in real life. I feel that they should be grateful for the little bit of information I give them.