Gleaning is getting things that are abandoned. I did not abandon my early pictures, my photos, my early films. It's just going through my body of work as something I can pick from.

I'm missing some people, you know, and this is not nostalgia. I miss them. This is melancholy.

The story of a couple is always very fragile, especially over more than thirty years. People know it's not easy, and even though you have strong feeling and desire and endless love, it doesn't always happen.

I had flops, I had success.

I see all these students, and I admire them - they're trying to learn something, they go to school, they do film school, they go on shoots, they help. I'm sure they learn a lot, and some of them, it makes them aware of what they wish to do. I was - that's the way I was - autodidact.

When I did the first edit of Les plages, it was very dry and very square in a way. I was just saying the minimum. I said, Well, if this is the minimum, I don't make it. So I tried to make it more refined. I tried to find images, allegorical images, that I could use to express things that I didn't want to say or didn't want to show or I was not able to find how to show.

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.