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 thought, If I'm an ancestor and grandmother when I'm twenty-five, I should go peacefully to the real time when I'm an ancestor and a grandmother.

I'm interested in people who are not exactly the middle way, or who are trying something else because they cannot prevent themselves from being different, or they wish to be different, or they are different because society pushed them away.

When I started I did not know I wanted to be a filmmaker. I started - I made a film. Then when I finished I said, Oh my god it's so beautiful - I should be a filmmaker!

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

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.

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.