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.

You have to understand that I'm a child of the second generation, which means my mother was in Auschwitz, and the aunt of my mother was in Auschwitz with her; my grandmother and grandfather died there. So yes. All of those gestures they work for you, or for them, to fill their time or not feel their anxiety. But the child feels everything. It doesn't make the child secure. You put the child in a jail.

What I hate in movies is all those people you need. And then I realize I do better when I shoot by myself.

I went at 4:30 in the morning to a café 500 meters from my place. And it was another city... Totally different than where I go every day. And I said, "God, I will do that again." That's another subject I want to do. It's my street, suddenly different at 5:00 in the morning. I can shoot for one week. That's enough to make a movie.

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.

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.

The jail thing is very, very present in all of my work... Sometimes not very frontally. The jail is coming from the camps, because my mother was in the camps, and she internalized that and gave it to me.