Once we were on the set, we each did different kinds of work. I was doing more the technical stuff, the framing and the camera work, and she was working more with the actors. Marjane [Satrapi] and I don't stop speaking once we're on the set. We continue to talk. We define what our roles are going to be on set, because to have a snake with two heads is silly.

We [with Marjane Satrapi] both have very strong personalities, but that's completely normal, because even if you're very well prepared, you never know when you shoot live action.

Once we were on the set, we each did different kinds of work. I was doing more the technical stuff, the framing and the camera work, and she was working more with the actors. Marjane [Satrapi] and I don't stop speaking once we're on the set. We continue to talk. We define what our roles are going to be on set, because to have a snake with two heads is silly.

We needed to have a great set decorator, a great D.P., a great costume designer, everybody. Without all these people, we would have made a shitty movie.

I love Apocalypse Now because it's a war movie, but yet it's not really a movie about war.

For me, it was a wonderful surprise because I saw wonderful actors being very professional working in front of me [on Chicken with Plums]. I finally understood what an actor is and what an actor does. On a daily basis, it's a bit repetitive.

There are different kinds of passages in the movie [Chicken with plums]. One of the passages is like a sitcom and another is a bit more delicate and another is more bizarre, so you have to have people who know how to navigate that.