“After independence in 1958, we faced a conspiracy of silence in all western countries about what was in Guinea, but the passion and temperament of Sekou Toure allowed him to get his message across in Africa. ”
[on the making of "Blind Pig Who Wants to Fly"] "Although most foreigners didn’t quite catch the cultural references or understand the background (Indonesian social history), many understood and identified with the overall feeling of alienation. And that’s important to me: when the film is liberated from having to explain any facts or history or background, it independently expresses a strong feeling of confusion, unease, restlessness and even fear."
“The first African films, Ousmane Sembene’s films, which I greatly admire, are still very young. We have to carry on despite our weaknesses. The world is like that, made up of suffering and joy.”
“Yes, I think that you can take any subject to convey a serious issue, whether consciously or not. Film is manipulative! So, in order to tell a story, you first of all have to win the spectator’s confidence. He or she has to let go.”
“To date, I have always started with a character whose inner life I investigated for some time. I am then able to extract a narrative from his or her desires, longings and fears. While still searching, I am tuned into the world around me, enjoy observing people, let myself be led by what I meet in the way of stories, people – and films, of course.”
[on the film “Making Of”] "The media don’t report on those youths who refuse to become suicide bombers, but only on the attacks that are carried out. But the number of those who refuse is ten or 20 times higher. My goal was to show an example of someone who refuses to become a murderer."