The script is simply a series of notes for the film.

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.

A man who renounces something is also a man who believes in something.

My films have always had an element of immediate autobiography, in that I shoot any particular scene according to the mood I'm in that day, according to the little daily experiences I've had and am having - but I don't tell what has happened to me. I would like to do something more strictly autobiographical, but perhaps I never will, because it isn't interesting enough.

One of the problems of the future world will be the use of leisure time. How will it be filled up? Maybe drugs will be distributed free of charge by the government.

Do you really think a man must be strong, masculine, dominating, and the woman frail, obedient and sensitive? This is a conventional idea. Reality is quite different.

Before each new setup, I chase everyone off the set in order to be alone and look through the camera. In that moment, the film seems quite easy. But then the others come in and everything becomes difficult.