I like looking back at people's faces in the dark. I like noticing details that no one else sees. But I hate it in the old American movies when drivers don't watch the road.

There is a new philosophy for weapons: it's more expensive to hurt people than to kill people. It's terrible. When you have a band of guys on the battlefield, if someone is dead, he's dead. If someone is injured then they have to take care of him, so six people are busy.

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

If I would want to have a huge audience, I would make American movies, not French movies, because there is a limit of course with French language. If I prefer to shoot in my own language, it is to play with my language, to play in my Paris, and I have complete freedom in France. It's so amazing. If American directors could imagine how free I am, they would have asked for political asylum immediately.

I like looking back at people's faces in the dark. I like noticing details that no one else sees. But I hate it in the old American movies when drivers don't watch the road.

When critics love your film, you love critics. When they hate your film, you hate critics. It's the same everywhere, but maybe especially in France, where we have pretty good critics, except for three or four newspapers that are really dogmatic.

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