The movie business is not about the money. Of course, you need money to make the movie. If you have a small budget, adapt yourself. Having $200 million dollars doesn't ensure that you're definitely going to make a good movie. There's so many examples that prove that.

I think the best work of the director is to listen to what all the technicians around him have to say, but then the thing is to take the best decision, what you think is the best. Then, that is the moment where you have to have all the film in your head and imagine how all of that will fit together.

If today I have to make a political statement, it is, 'I love beauty.' I think beauty makes people better.

You have to be narcissistic to be an artist. You have to think you are the centre of the whole thing otherwise why do you create? The only thing is to recognise it, and then you make the best of it.

I loved Chiara Mastroianni voice, her talent, her generosity. We rehearsed for two months...She's a workaholic and perfectionist, like Vincent [Paronnaud] and myself.

The novels have done so well because the drawings are abstract, black-and-white. This adds to the universality of the story. "Persepolis" also has dreamlike moments, and the drawings help maintain cohesion and consistency.

I chose the actors that I was in love with. I cannot work with people that I don't personally like a lot. They can be the best actor in the world, but if the first contact is not good, if I don't fall in love with them, then I don't want to work with them. It's impossible.