“I think it's important that we all try to give something to this medium, instead of just thinking about what is the most efficient way of telling a story or making an audience stay in a cinema.”
“A lot of my work has to do with not allowing my characters to have an ego in a way that the stomach doesn't have an ego when it's wanting to throw up. It just does it.”
“Paris, which had always amused me on holiday, was too lovely… Emigration was no hardship, it was an outing. It offered the shining wet boulevards under the street lights, breakfast in Monmartre with cognac in your glass, coffee and lukewarm brioche, gigolos and prostitutes at night… Everyone in the world has two fatherlands: his own and Paris.”
“If I can say one thing for my pictures, it is a certain craftsmanship. A thought which has gone into every angle. There is nothing there without an optical reason.”
“It isn't easy to accept that suffering can also be beautiful...it's difficult. It's something you can only understand if you dig deeply into yourself.”
“I always start with characters rather than with a plot, which many critics would say is very obvious from the lack of plot in my films - although I think they do have plots - but the plot is not of primary importance to me, the characters are. ”
“I think it would be very boring dramatically to have a film where everybody was a lawyer or doctor and had no faults. To me, the most important thing is to be truthful.”