You go though a period of immense pain when reality meets the dream.

I know I have great inner strength; I always have. I can blank things out, cut people out, and I know that I can go and live in a cave on my own if necessary.

Cinema d'auteur, cinema about people, about emotions. About la difficulté d'être, the difficulty of being, existential problems. That's what the nouvelle vague is. The early '60s was all about that.

You don't need the painful memories, because either you've resolved them. Denying always makes them want to come back. Denial is a mechanism that doesn't work. But allowing them to come back in little by little, those memories, you can begin to be quite comfortable with them, and it's even nice to have that as part of the map of your life.

The process of filmmaking is very musical, you get into the rhythm and the rhythmics of how someone is, especially with Woody Allen who is very much into body language and body movement.

I must explore desert ground and see what can grow. But there are limits. I know in my heart what I would never do.

I've always been monogamous - [within it] I've been in love with people, but very platonically. For me, monogamous love is about learning how to be able to trust someone completely; so you need to be able to think you can trust them. But that doesn't mean you can't have extraordinary feelings for other people and not feel guilty about them, but not necessarily go and wreck marriages and consummate, and you don't have to do all that.