I was a photographer first.I worked alone. I did it my way as much as I could. I have been sort of courageous about doing things, because I didn't think I should do less than my brothers.

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 tried to find a language for the film - not just telling stories. I picked the Picasso painting because it said more than I could explain. I need images, I need representation which deals in other means than reality. We have to use reality but get out of it. That's what I try to do all the time.

It's a way of living, sharing things with people who work with me, and they seem to enjoy it.

People think you are an orphan when you are a child, and don't believe that old people can feel that they are orphans.

I wanted to catch the problem of consumption, waste, poor people eating what we throw away, which is a big subject. But I didn't want to become a sociologue, an ethnographe, a serious thinker. I thought I should be free, even in a documentary which has a very serious subject.

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