I want an actor to try to give me what I ask in the best and most exact way possible. He mustn't try to find out more, because then there's the danger that he'll become his own director.

The script is a starting point, not a fixed highway. I must look through the camera to see if what I've written on the page is right or not. In the script, you describe imagined scenes, but it's all suspended in mid-air. Often, an actor viewed against a wall or a landscape, or seen through a window, is much more eloquent than the lines you've given him. So then you take out the lines. This happens often to me and I end up saying what I want with a movement or a gesture.

I am neither a sociologist nor a politician. All I can do is imagine for myself what the future will be like.

In any case, the idea of giving "all" of reality is overly simple and absurd.

After you've learned two or three basic rules of cinema grammar, you can do what you like - including breaking those rules.

Actors are always a little high at work. Acting is their drug. So when you put the brakes on, they're naturally a little disappointed.

Favourite directors change, like favorite authors. I had a passion for Gide and Stein and Faulkner. But now they're no use to me anymore. I've assimilated them - so, enough, they are a closed chapter. This also applies to film directors.