Good cinema is good cinema. It makes you feel like you need to work. Just yesterday I saw a good film, but even if I'd seen a bad one, I'd feel, "Oh my god, what a bad job, I can do better."
I've always been like this - trying to find adventure where it's still in its first élan - the first spring.
I was nineteen and I put a bowl on and I said, Cut around! Because it was not the fashion at the time when I did that hairdo - and I kept it all my life!
Gleaning is getting things that are abandoned. I did not abandon my early pictures, my photos, my early films. It's just going through my body of work as something I can pick from.
I'm missing some people, you know, and this is not nostalgia. I miss them. This is melancholy.
It's interesting work for me to tell my life, as a possibility for other people to relate it to themselves - not so much to learn about me.
Nostalgia doesn't make sense, because it's like bringing the memories back to be a special part of my day or to be part of my week. And I'm inside my memories the same way I'm inside my everyday life.
I think people should be different. I love people who don't go by the rule that you have to be careful because you're old, you have to do this and that, you have to eat this and that.
I hated myself totally white. So now I cheat. It's my white hair, and I put color there. My grandson says I'm punk.
People think you are an orphan when you are a child, and don't believe that old people can feel that they are orphans.
The mirror is the tool of the one who wants to do a self-portrait. And if you want to make a photo you need a mirror.
Sometimes I feel sad, but this is not nostalgia, because I don't want time to come back.
My company is called Ciné-Tamaris, which is rosemary. That's my speed. Hot water and herb.
I didn't see films when I was young. I was stupid and naïve. Maybe I wouldn't have made films if I had seen lots of others; maybe it would have stopped me. I started totally free and crazy and innocent. Now I've seen many films, and many beautiful films. And I try to keep a certain level of quality of my films. I don't do commercials, I don't do films pre-prepared by other people, I don't do star system. So I do my own little thing.
I quit seeing some people who were saying bad things about women; I don't even want to meet them or see them.
I was a photographer first.I worked alone. I did it my way as much as I could. I have been sort of courageous about doing things, because I didn't think I should do less than my brothers.
I'm myself - knowing I'm doing a documentary and speaking with the people, telling them I have a bed, that I can eat every day, but I would like to speak to you. And they really gave me wonderful answers. We got along very well without trying to make me look like I'm what I'm not.
I don't watch my own films. There is little time; I'd rather see another film.
People like my films. They understand me through my films; it's like a connection that has been established between all my work and myself and the audience and the viewer.
I think we need to have a nest of something which is family.
You have to be strong to be a carpenter, maybe, but the director of a film doesn't need to have muscles.
When I saw what painting had done in the last thirty years, what literature had done - people like Joyce and Virginia Woolf, Faulkner and Hemingway - in France we have Nathalie Sarraute - and paintings became so strongly contemporary while cinema was just following the path of theater. I have to do something which relates with my time, and in my time, we make things differently.
I'm not nostalgic. My memories are back here in my mind.
The boundaries between contemporary art and cinema are so rigid. It's unbelievable. The film critics don't know my artwork and the art world doesn't know my films.
It's a way of living, cinema. And I see my family, I do this and that, I travel. It's a long process to let it happen.
