The great thing about Europe is that things have not been represented [as much]. If you open the door of a bar in Brooklyn in a film you know exactly who is the mobster, who is the nice guy, who is the drunk, who's the waitress, who's the lonely heart. If you push open the door to a bar in Antwerp or Lisbon or Rotterdam, people will talk five different languages. You don't know who's who. You don't know if that guy is a banker or a mobster.

Each time I had an internship to do or an essay to write, I would always do it in the field of cinema. Nobody in my family worked in film and nobody could understand it.

The great thing about Europe is that things have not been represented [as much]. If you open the door of a bar in Brooklyn in a film you know exactly who is the mobster, who is the nice guy, who is the drunk, who's the waitress, who's the lonely heart. If you push open the door to a bar in Antwerp or Lisbon or Rotterdam, people will talk five different languages. You don't know who's who. You don't know if that guy is a banker or a mobster.

Things [only] exist once they are represented.

When you're a screenwriter, it's like being a mechanic. You open the hood of the story, the director is the driver, and he says, "What do you think? It's a little tough."

People who work in distribution will be distributors all their life.

Editing is a very tough period. You're confronted with yourself. It's a deep, dark, truthful mirror.