“I cannot just make a film and walk away from it. I need that creative intimacy, and quite frankly, the control to execute my visions, on all my projects.”
[on his film, À propos de Nice] “In this film, by showing certain basic aspects of a city, a way of life is put on trial. The last gasps of a society so lost in its escapism that it sickens you and makes you sympathetic to a revolutionary solution.”
“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.”
“I’m a long-term student but also a committed autodidact. Therefore I’m as much interested in the ways people learn things for themselves as in the way they do through dialogue and communication. I like to film the way someone moves who is acquiring a new skill or learning something about the world.”
“Each time I'm starting to work on a film, even if I love to settle the plot in the real world, I start to think about the plot as a fairy tale, or a dream, or a nightmare...”
“With Irma Vep, all of a sudden I decided that it was okay to mix genre, to mix cultures, and that movies sometimes could be experiments, that within the format of modern cinema, within the format of narrative, you could experiment by mixing elements.”
“The characters are the result of two things-first, we elaborate them into fairly well-defined people through their dialogue, then they happen all over again, when the actor interprets them. ”