I hate to lose time on the set. On the set, you have to go at a good pace, because the clock is your master. For that reason, I have to know exactly what I'm trying to get beforehand.

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.

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

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.

In general, I have some precise ideas about everything, because the film is completed in my head before we ever start shooting. With casting, I am always present, even for the smallest character.

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.