I really believe the form of the film must be in the scenario; cinema is not just added value to the scripting. I believe in it as a totality.

Cinema for me only has meaning when it has a relationship with what I see outside on the street.

In movies, it's so easy to have this 'boom,' to kill, and I think that's inhumane.

I don't feel comfortable with violence, and I'm not sure that I film violent scenes properly, and it's something I'm reticent to do, and yet violence is sort of in all of my films.

If I ask my actors to bare themselves, to reveal themselves as almost naked, I have to bare myself, expose myself as well. That's what creates excitement.

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.

The so-called "remake" is simply a commercial formulation of a much deeper exchange which accounts for the way cinema is what it is.