Sometimes I want to work with a DP, sometimes I want to work myself. I go to 35mm, 16mm, it's all the same, but it depends on what you want to tell and what are the tools you need.

I didn't see films when I was young. I was stupid and naïve. Maybe I wouldn't have made films if I had seen lots of others; maybe it would have stopped me. I started totally free and crazy and innocent. Now I've seen many films, and many beautiful films. And I try to keep a certain level of quality of my films. I don't do commercials, I don't do films pre-prepared by other people, I don't do star system. So I do my own little thing.

I know people could tell incredible stories. People have been in concentration camps, or women being raped, or a man going to war and not recovering from it. People have been robbed and beaten. A lot of people have had strong events in their life, which I didn't.

I never met Publo Picasso. I took pictures at the Festival d'Avignon, but I was too shy to ask to go in his studio. It does not look like me now, but I was very shy, and shy of men also. I think there was a world that frightened me totally.

You have to be strong to be a carpenter, maybe, but the director of a film doesn't need to have muscles.

I don't believe in inspiration that arrives like a bolt from the blue ... It seems to me that the more motivated I am by what I film, the more objectively I film.

I don't try to make a place in history at all! People put me in the history of cinema because my first film, La pointe-courte, was so ahead of some other filmmakers. Many filmmakers have made resurgent work, and I was just a little ahead of the time.