I write scripts by myself. It's not for everybody. It's someone's personal work. I need to be in love with the subject.

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.

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 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 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.

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.

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.