I think being someone in love is so hard to define, so temporary, because retrospectively we often deny the state in which we were in love.

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.

Close-Up is a very particular film in my oeuvre. It's a film that was made in a very particular way; mainly because I didn't really have the time to think about how to go about making the film.

It seems that film-makers are being divided between those working in digital and those who are not. I think it's not something predetermined - it all depends on what project we have in mind, and on that basis we choose the medium.

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.

I don't have very complete scripts for my films. I have a general outline and a character in my mind, and I make no notes until I find the character who's in my mind in reality.

I think life is so difficult to catch, it's so furtive, that a copy, a film, can in no way catch it and represent it.