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

If I worked in my apartment, I'd never leave my apartment.

It's rare in a documentary film that you have a repetitive act. So when you do, you can shoot it in different ways so that you have more choices when you're sitting down to edit that sequence six months later.

I'm in no way suggesting that I succeed, but it's inspiring to read somebody who does succeed and from whom, in a general way, you can draw examples and nourishment and sustenance.

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.

I'm very careful of not being critical of other people's movies, which work in different styles. I think some of my movies can be interpreted as critical of their subjects.

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.