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.

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.

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

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.

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

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.

When I was a kid, I used to escape from my family with my imagination, and I kept this spirit into my adult life. This doesn't always happen. All children have imagination, but for some it doesn't carry over.