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.

I've never made any concessions, so I am 100% responsible for my films. This makes me feel very proud.

Each time, I try to find a family of interesting faces. I follow the tradition of films from the 40s - at this time, there were so many interesting faces in France. I often work with the same because there are not thousands and thousands in France. I'm looking for interesting faces and characters actors, and it's not for everybody.

I think of a film as being like a toy train.

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.

It's always been pretty easy for me to exercise my imagination. The other part of the brain, the one that does mathematics, is a nightmare for me. It doesn't work at all.