But I think that the spirit of protectionism would be the grave of European cinema. You cannot protect something by building a fence around it and thinking that this will help it survive.

It's a great lesson in modesty that you realize you're illiterate in a field that you think you're an expert in.

It's almost scary how stylish things can look if you take the color out - how much more you see the essence of things and how much more something can appear elegant.

On the contrary a film can promote the idea of change without any political message whatsoever but in its form and language can tell people that they can change their lives and contribute to progressive changes in the world.

There are a lot of things that dancers can do that actors cannot and actors can do that dancers cannot.

I'm getting a little bored by the juxtaposition of American and other cinema. I no longer think this division is as true as it might have been in the 1980s, or the early part of the 90s.

Many French directors, having now realised there was no more real criticism, that the standards of the past have gone, are very offended about the quality of film criticism.