I was eighteen, this was back in '46, so we also had these very frightening images of soldiers in the streets of Paris. So the effect of war, plus my shyness, plus my lack of education - I was afraid of men, really. It changes later, but it took me a certain time to adjust.

Some people meet each other again only when I'm there!

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 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.

We need to find another way or another shape or an allegory or something that tells us more. Even Vagabond - it was a fiction but it was really a documentary. I mean, it has the texture of documentary. Even if I made up every line, it has the texture of being true.

It's peaceful to think about the family as a group. I totally believe in extended families.

At that time, when I started, in the '50s, cinema was very classical in its aims.