Cukor is one of my favorite directors. He was a master at directing women.

The challenge to me as a director was for the audience to see the film as going on in a straight line, so that they did not sense all of these break-ups. I did not want a film to be a collage of all these images.

If I had not been successful as a director, then I'm sure I would still be telling stories. I would have continued on 16mm or found a different medium through which to tell them. Maybe they would have been less glamorous than films, but I would continue to tell stories.

I tried to think about these two issues very freely. With sex, I think I can manage with that. With death, this is a more difficult theme for me. I'm not a believer, even though I'm baptized. I don't practice. I don't believe in God, so I feel very alone facing death. What I discovered is that the only way to recognize death is if you are part of life, if you are part of sexual pleasure, if you link it with sexual pleasure.

It's a pity that I can never really enjoy my movies because, after the mixing, your capacity as a spectator just disappears. I have to think about what I felt just before the mixing.

When I'm writing, I don't put faces on the characters. When I finish the first draft of the script, I start visualizing, and sometimes then I think about one actor.

An ample arse helps you to be weighed down and be grounded.