I had an awful joke about Auschwitz I drove everybody crazy with that joke. But that joke makes me feel good. You know what "cuit" means? When something is cooked. It's a joke like that: "What are the birds doing when they fly over Auschwitz? 'Cuit! Cuit!'" It's awful, but it's desacralizing. For me, it's good.

Delphine Seyrig is a very proper woman, from high society. She's from the Ferdinand de Saussure family, the structuralist. Old money. Swiss. Protestant. They were that type of well-educated people who could recognize a good artist before others, and she was like that. Even if it was against something inside her. Tell me one actress in 1972 in France, except Delphine, at her level, who would love Hôtel Monterey. No one.

She who seeks shall find, find all to well, and end up clouding her vision with her own preconceptions.

When I'm in my neighborhood, I don't see anything anymore, because I'm so used to it. When I go somewhere else, suddenly, I'm alive. I'm on alert, and I can be fresh.

Have you seen the film Histoires D'Amérique? It's also a mixture of humor and monologue, and it shows how the Jewish humor comes from drama and tragedy.

Lars von Trier is very, very, very clever about women. He gives the woman a space that I don't know any filmmaker does. Because in Breaking The Waves, protagonist Emily Watson is the Christ. Which man is doing that? I don't know any man giving that space to a woman. No one.

What I think is dreadful about art is the way it's related to the money afterward. Not when you do it... But after that, it's like 5,000 rich people have access to it. A movie, even though it can be a bad movie or a good movie, it is more democratic. The people who buy my films, the people who buy my installations it's sometimes a foundation or a museum. When it's a foundation, it's related to very, very, very rich people - who are your enemies! Your enemies are feeding you. But you're not meeting them. So it's a very strange thing.