Take a film of Jacques Tati like Mon Oncle which has something quite new - for me, unique - in it.

And so my militant philosophy is this: to make with a brush on canvas is a simple direct delight-to make with the movie is the same.

Unless it's done superbly, as in the Japanese film Gate of Hell, color can be a very distracting element.

The number of strokes to the inch controls the pitch of the note: the more, the higher the pitch; the fewer, the lower the pitch, the size of the stroke controls the loudness... the tone quality is the most difficult element to control, it is made by the shape of the strokes.

The process of art evolving is always one which has fascinated me.

So people will come along and do new things and sometimes return to the spirit of an earlier age.

I have tried to preserve in my relationship to the film the same closeness and intimacy that exists between a painter and his canvas.