I've changed my approach to people and to filming because of the new equipment, which is important.

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

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.

The freedom he gave himself to work and change shape and change ideas and work all the time with joy, the joy of painting was in [Publo] Picasso, which I found beautiful.

If we opened people up, we’d find landscapes.

Nostalgia doesn't make sense, because it's like bringing the memories back to be a special part of my day or to be part of my week. And I'm inside my memories the same way I'm inside my everyday life.

I call [ordinary people] real people, because they have in themselves an incredible treasure - stories, a way of speaking, a way of sharing, an innocence and a perversity which I find very interesting to discover little by little.