Of course, when you work with actors and when you work on a script everything that you know about the human experience can't possibly go in.

I didn't want to do casting in a way that you find yourself in a situation where there's this perfect girl for a part and you just can't cast her because the family says no.

With a screenwriter and with the actors there is always an environment of trust. You can say anything, all your secrets, and you know that it won't get out of that room.

There was something, which was the turning point: I felt very strongly that women were sexualized, and perceived like they are sexual in every move, and it started off really early.

Making a film transforms your relationship to the world. And there's some sort of natural authority that builds up along the way.

It wouldn't have existed without France, and it's a French initiative. As a filmmaker, I owe everything to France - I got accepted at a French film school that takes six directors a year. Once you're in, you make films under the eye of people in the industry. You grow up in front of their eyes.

When you make a film, you come to say something.