In the States, I learned to fight for every idea. Sometimes, a director has to be a tyrant to keep the quality.

It's always more interesting and more difficult to make something positive than negative. To be negative is very easy.

When you speak about generosity, about something good we have inside ourselves, you're speaking to the majority.

In France, I am so free. I have more freedom than most American directors could dare to even imagine.

I think we're entering a new period of filmmaking that's analogous to switching from black-and-white to color, or from silent to sound. The medium is completely flexible, and it's not bound by anything. If you imagine something, you can do it.

I'm very slow, and I do everything myself. I remember I spent three days to change the size of something I had sketched because I felt it was too small.

When I was a child, I had a ViewMaster, those red box glasses with little discs, so that you can see 3D images. They were my first steps in cinema. I was eight years old, I would cut and change the order of the images and that's how I created films that subsequently I recorded and projected and showed my friends. So I already took my first steps in 3D when I was eight years old.