“Perhaps it makes sense that a woman whose earliest memory was on the set of Apocalypse Now would grow up to direct a dark fable about five adolescent girls who unapologetically and unceremoniously kill themselves...”
“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.”
“Each scene should feel right, should be true at that moment, and gradually you accumulate these moments of truth until you get enough of them together that it becomes a story that’s interesting.”
“You have to be clear about the characters in the beginning and then you just go for it, but in Winter Sleepers it was really a different approach. You get to know somebody, then maybe at first sight you don't like him. In real life that very often happens”
“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.”
“You get trapped by stories. Though I've got this reputation for being out of control, it's not true, it just happens to be a more interesting story than the truth.”
“If someone were to tell me I had twenty years left, and ask me how I'd like to spend them, I'd reply 'Give me two hours a day of activity, and I'll take the other twenty-two in dreams.'”
“Movie directors, or should I say people who create things, are very greedy and they can never be satisfied...that's why they can keep on working. I've been able to work for so long because I think next time, I'll make something good.”
“I also wanted to express the strength of cinema to hide reality, while being entertaining. Cinema can fill in the empty spaces of your life and your loneliness.”
“I wanted to make a fake Paris, a Paris of dreams, like in my head when I was twenty and I arrived in Paris for the first time. I wanted to avoid the bad things: traffic jams, dog shit on the street, the rain.”