When you see people on the street, they're living in their phones. They aren't living where they are - they haven't got the energy of the past. And so it's something that needs to be reestablished.
Baroque civilization believed in two truths, which for a post-18th-century mindset are exclusive truths - we have to eliminate one to believe the other. They believed in the rational exploration of the universe, and they also believed that there was a hidden spiritual truth. Baroque thinkers were able to live the two at the same time. In any case, for me, it's necessary to live that way also.
One of the biggest problems of our contemporary civilization is that there's been an interruption of transmission. People have no past in their present.
I work very hard to achieve simplicity, which is never natural, never spontaneous. It's always obtained at the price of a great effort.
In France, we have laïcité, which means that atheism is almost our state religion. But I think a very important part of Western culture is in the centuries when Christianism was dominant and was present in almost all works of art - not only liturgical works, but also literature and music. Yes, it's important to have that in our present. It doesn't mean that people have to adhere to a dogma or practice a religion, but it's part of our heritage, and you have to at least try to understand it. Otherwise you can't be a modern person.
Spiritual truth is something that is so far from us - without any form or name that we can imagine - that we need the things that religions gave us simply as images and metaphors. But they can be found in a variety of ways. It's not a question of religious practice.
I think that if you have a sense of the sacredness of nature and of human relations, I think you will be uplifted in some sort of spiritual elevation.
Mature people transmit to young people a certain wisdom that comes from maturity, but young people are close to a more intuitive wisdom, and they can give that back to older people who have lost it to their maturation.
I don't like things to be overcharged, because otherwise everyone starts getting nervous. I try to be very well organized. When I write the script, everything is already in there, like the decoupage.
The information that was contained in a cathedral was based upon a common culture - a common Christian culture - and the elements were chosen for a common symbolic meaning. Someone who knew everything that was represented in a cathedral had a sort of encyclopedia - you can indeed call it that - but it was a selective encyclopedia, like encyclopedias back when they were books and the people writing them were supposed to be specialists in their field. I think today the problem is that people don't know how to choose between different kinds of information.
It's one of the bases of all human existence - the relation between parents and children, whether biologically or metaphorically. It's something we can never get away from, even in a civilization where we're controlled by robots. It's the basic relationship between mature people who represent paternal and maternal figures and young people. It's universal - it's part of human existence. It's always been that way, and it will always be that way if humans remain around.
I have much respect for the people that I work with, and it's reciprocal. My shoots are always very calm. Everyone has their work to do, and we try to respect everyone's work and give them the time necessary. There's never any tension. That's something that helps to attain the simplicity that I'm looking for.
When you speak a foreign language, you become someone else. If you aren't used to speaking a language, and you start speaking it again, for the first few sentences you'll find yourself in very strange shape, because you're still the person who was speaking the first language. But if you keep speaking that language, you will become the person who corresponds to it.
