The negative has to be done on an A and B [roll] so you don't see the cuts, the splices on the frameline.

I think in life, people know what they want. They want to survive, they want to have a family. They want to procreate because it's in the genetic law.

When you see a movie, it's like you're attending a show of magic in which the magician pulls a rabbit out of a hat. You don't know how he did it, but a part of you is fascinated, or hypnotized, by what happened, another part of your brain says, "Oh, I want to do the same thing! I want to be that wielder of that magic. I want to be that magician on stage, and do the same thing to other people."

People sometimes, they just stop because they see this scope movie. They say "oh, this is a real movie, this is not a TV 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.

My father is much more into forgetting and forgiving, but I'm much more into revenge.

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.