The cinema, as literature, as all the plastic arts, do not exist outside of a critical system that allows us to study them.

I think 'Scarface' is a great film, but if you have a character like Tony Montana, you don't identify with him at all. I think it's very interesting instead to identify yourself with a character you don't like all the time. You can create a tension between the fiction and the viewer. You force the spectator to wonder about his actions.

Beauty is subjective: Bette Davis wasn't beautiful, but she was more than beautiful.

The cinema that interests me departs from realism.

When you're a kid and your father is an engineer, he goes to the office. I saw my father get up and go to the office in the house and write. But I don't see any similarities.

The most heroic thing you can do is tell someone that you love them.

I was the little French boy who grew up hearing people talk of De Gaulle and the Resistance. France against the Nazis! Then when that boy grew up, he began to uncover things. We began to legitimately ask the question, 'What exactly did our parents do during the Occupation?' We discovered it was not the story they were telling us.