When I started my first film, there were three women directors in France. Their films were OK, but I was different. It's like when you start to jump and you put the pole very high - you have to jump very high. I thought, I have to use cinema as a language.

Society is so slow. A feminist is a bore.

I had a very good time when I did The Gleaners - even though the people are poor, and I was suffering to see the conditions, and plus they are not such lovely hearts. They are tough to each other, they beat each other, they are rude and they are violent and they drink. They're not sweethearts, you know, but some were so interesting.

I go back to many films that I really love. Some Bresson, some Godard of the early times, the Cassavetes of those years I love. And the early Wim Wenders. But my own films I don't watch, unless I need them.

Sometimes I feel sad, but this is not nostalgia, because I don't want time to come back.

I'm not nostalgic. My memories are back here in my mind.

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.