“I constantly try to reinvent my sensibilities and my ideas. I enjoy some of the satisfaction that I get when I feel good about what I've done. But the process is quite lonely and quite painful.”
“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.”
“I show true things using fictional techniques but maintaining truthfulness — that's where my approach differs from Ozu. He wanted to make film more aesthetic. I want to make it more real. He aspired toward a cinematic nirvana. When I was his assistant, I was very opposed to him, but now, whilst still not liking his films, I'm much more tolerant. As for me, I'd like to destroy this premise that cinema is fiction.”
“Sometimes they think the way we work is very stylish and romantic, but actually it's the way we can survive and make the films. We can work with the things that we get, but not the things we wish we had.”
“People love seeing violence and horrible things. The human being is bad and he can't stand more than five minutes of happiness. Put him in a dark theater and ask him to look at two hours of happiness and he'd walk out or fall asleep.”
“What is attempted in these films is of course a synthesis. But it can be seen by someone who has his feet in both cultures. Someone who will bring to bear on the films involvement and detachment in equal measure.”
“I formulated my own directing style in my own head, proceeding without any unnecessary imitation of others… For me there was no such thing as a teacher. I have relied entirely on my own strength.”
“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.”