The boundaries between contemporary art and cinema are so rigid. It's unbelievable. The film critics don't know my artwork and the art world doesn't know my films.

I never fought, I never learned kung fu or boxing, I never went into these sportif competitions. I wouldn't cross the ocean. I think it's ridiculous to take such risk. But look, people love to do that. But I was not afraid of doing things I wished to do. I did not think that woman would be restrained. I never saw that, especially not in filmmaking, where you don't have to be strong.

I'm still fighting. I don't know how much longer, but I'm still fighting a struggle, which is to make cinema alive and not just make another film.

Hands are the tool of the painter, the artist.

The freedom he gave himself to work and change shape and change ideas and work all the time with joy, the joy of painting was in [Publo] Picasso, which I found beautiful.

It's interesting work for me to tell my life, as a possibility for other people to relate it to themselves - not so much to learn about me.

I tried to find a language for the film - not just telling stories. I picked the Picasso painting because it said more than I could explain. 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.