My company is called Ciné-Tamaris, which is rosemary. That's my speed. Hot water and herb.

Humor is such a strong weapon, such a strong answer.

I'd been educated stupidly, I knew nothing about nothing, that's part of being shy.

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.

If you know nothing, it could be like an enemy in a way. I think that's the way I felt when I was young.

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.

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.