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

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 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.

I think I did fifteen long features and fifteen documentaries, or something like this, which is very little when you think of people making a film every year. Some people have done fifty or sixty films.

I'm trying to capture something more fragile than a regular story. I love what people bring me.

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 wanted to speak strongly about feminism in my life, since it's been a struggle.