I've often noticed that we are not able to look at what we have in front of us, unless it's inside a frame.

Cinema gives you the opportunity to be both a grandparent and a grandchild whereas in life you cannot be both at the same time.

I am still very surprised that I managed to make that film [Close Up]. When I actually look back on that film, I really feel that I was not the director but instead just a member of the audience.

We don't look at each other [in the car], but instead do so only when we want to. We're allowed to look around without appearing rude. We have a big screen in front of us and side views. Silence doesn't seem heavy or difficult.

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 think the contrast between these two in the professional world of cinema mattered to me. One who has reached the ultimate point of being a star, who knows how to do everything very well, facing another person who would throughout the making of the film transfer his anxiety to both of us, to me and to Juliette, as to whether or not he would be capable of fulfilling his role. This in itself created a challenge that was actually very good for me, since I hadn't ever counterposed two such performers before, creating that challenge between someone who knows their part and someone who doesn't.

In order to be able to cooperate with a child, you have to come down to below their level in order to communicate with them. Actors are also like children.