It is always a problem to know what an image means.

Everything about a movie is manipulation.

Documentary filmmaking ruins you for real life, because you learn to be extremely attentive.

There's a literal track: who says what to whom, what are people wearing, etcetera. And there's the abstract track: what ideas are suggested by the literal. And the real movie takes place in the relationship between the literal and the abstract.

I am bad at cultural generalizations but I would venture to say that by a wide margin there is less hypocrisy about sex in France than in America.

Whether you're a newspaper journalist, a lawyer, a doctor. You have to organize your thoughts.

I think I've learned a lot about how to make movies, and particularly about how to edit movies by thinking about how similar problems are resolved in other forms. The issues in all forms are the same in an abstract sense, aren't they? Characterization, abstraction, metaphor, passage of time... Whether it's a movie, a novel, a play, or a poem, those issues exist. And each person resolves them differently.