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

This is one of the things I don't like so much about French cinema - we have tendency to concentrate on actors and dialogue and we don't care so much about the visual aspect. I love when you use all the elements at your disposal.

For me, the most important word in cinema is the word freedom. For example, in Europe, we've got freedom, we've got the final cut and that's something which is marvellous.

In Hollywood everything is formatted, everything is compulsory, so therefore we have to follow the law of benefits and profit and money, let us say the law of Hollywood.

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.

In France, it's very suspect when you have a success.

When you make something you like and audiences reject it, the experience can be painful. But I've discovered...that when you make something you aren't exactly satisfied with, and someone tells you it's great, that's even mor...e painful and frustrating.