The 1980s really ended for me in 1992 with the film Kika.

I think that the consciousness of passion makes you act very differently.

The 1980s really ended for me in 1992 with the film Kika.

Both sex and death are eternal themes. You could make thousands of movies on this theme, and whether you have a human being who is painting, singing, making a film, writing, these are the themes that you will come back to and return to. If you don't have any of these artistic expressions, sex is one of the only gifts that nature gave you for free, so it is very important to celebrate it. And then, with death, we are condemned to that. This is absolutely present in our lives.

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.

I think décor says a lot about someone's social position, their taste, their sensibility, their work - and also about the aesthetic way I have chosen to tell their story.

Once we actually have the production script after many rewrites, at that point is when I start to decide what the look and colors will be. I work like a painter, even though I'm working in three dimensions. I'm working with chairs. I'm working with walls. But even things like the floor or the walls that people might think are not important, they actually do influence the visual look of the film. These are also things that I have to think about.