My films start with images, a few images and a few feelings, and I try to edit them together to see the correspondence between these images and these feelings.
I'm not a cineaste. I've made so few films. Sometimes it feels each one is the last one or the first one.
I don't work with people who ask me questions.
I thank Henry James for the scene in the hotel room, that I stole from Portrait Of A Lady… This particular scene is the most beautiful scene ever written.
Cinema is a territory. It exists outside of movies. It's a place I live in. It's a way of seeing things, of experiencing life. But making films, that's supposed to be a profession.
It's incredible how much cinema can do. We forget.
I'm not only my films, but I'm pretty much my films.
We all get a little tired of being ourselves sometimes. The answer is to reinvent yourself, but how do you do that and what is the cost?
The virtual world is not the enemy. The pioneers invented a world they believed in, but the followers must follow that world whether they believe in it or not.
When I was 16 I discovered this island called cinema and I thought: 'Oh how wonderful, I'm ready.
Every film starts with two or three images. Then I try to edit these images.
Even a fiction film is hard to end. You can going on shooting and editing a documentary forever.
The film is therefore a form of science fiction, in which humans, beasts and machines are on the verge of extinction - 'sacred motors' linked together by a common fate and solidarity, slaves to an increasingly virtual world. A world from which visible machines, real experiences and actions are gradually disappearing.
Men talk about art, and artists make art, but should artists talk?
I care about cinema even though I haven't made many films.
I feel that cinema is my country. But it's not my business.
