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 was free always. I could work without the money, to film this and that. But this is another point, because now I'm alone, and I can just use it when I want. I think the digital cameras have changed my view. Even though sometimes, including the installations that I show, I mix 35mm filming and video handmade.
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.
The tool of every self-portrait is the mirror. You see yourself in it. Turn it the other way, and you see the world .
If I was tall and blonde, I might have been a dancer or singer.
You have to invent life.
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 go back to many films that I really love. Some Bresson, some Godard of the early times, the Cassavetes of those years I love. And the early Wim Wenders. But my own films I don't watch, unless I need them.
I don't watch my own films. There is little time; I'd rather see another film.
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.
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 just 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.
You can buy a good pasta but when you cook it yourself it has another feeling.
Sometimes I want to work with a DP, sometimes I want to work myself. I go to 35mm, 16mm, it's all the same, but it depends on what you want to tell and what are the tools you need.
I've changed my approach to people and to filming because of the new equipment, which is important.
I'm missing some people, you know, and this is not nostalgia. I miss them. This is melancholy.
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.
I'm not nostalgic. My memories are back here in my mind.
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.
When I started I did not know I wanted to be a filmmaker. I started - I made a film. Then when I finished I said, Oh my god it's so beautiful - I should be a filmmaker!
I'm still fighting. I don't know how much longer, but I'm still fighting a struggle, which is to make cinema alive and not just make another film.
I wanted to speak strongly about feminism in my life, since it's been a struggle.
I've always been like this - trying to find adventure where it's still in its first élan - the first spring.
Society is so slow. A feminist is a bore.
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