I know people could tell incredible stories. People have been in concentration camps, or women being raped, or a man going to war and not recovering from it. People have been robbed and beaten. A lot of people have had strong events in their life, which I didn't.

I just didn't see films when I was young. I was stupid and naïve. Maybe I wouldn't have made films if I had seen lots of others; maybe it would have stopped me.

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

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.

When I started my first film, there were three women directors in France. Their films were OK, but I was different. It's like when you start to jump and you put the pole very high - you have to jump very high. I thought, I have to use cinema as a language.

I waited for each film to become important for me. If I had no ideas for a film, I didn't do a film. So I made not that many films for fifty-four years of working.

The story of a couple is always very fragile, especially over more than thirty years. People know it's not easy, and even though you have strong feeling and desire and endless love, it doesn't always happen.