Scope movies shown on TV letter-boxed are always the big budget movies.

Sometimes you have the chance to do one movie, make it the best you can, put everything in it.

If I had to go through a tunnel ten years without making any movies like Bunuel, I don't mind, as long as I did one good movie.

What I don't like in movies dealing with the illustration of altered states of consciousness is that usually you see the guy from the outside.

The French movies that are promoted abroad are the ones that give a trendy, cultural, petit bourgeois, upper class image of France, but it's true that people who are poor in France are the same in New York or in India.

The power that a president has in France is like the power of a king. In America, you know that his power is limited. Maybe because there used to be a king for centuries and now they're still behaving like they need a king.

In France now, there's no problem with official censorship. Once your movie is finished, you always are R-rated. My movie is just R-rated in France. But when you meet French producers with a script like mine, they behave like the most fragile chickens in the world. They just tell you "Oh, no. You should cut this. You should cut that." And at the end you have been totally censored on the synopsis, and then on the script.