If I had not been successful as a director, then I'm sure I would still be telling stories. I would have continued on 16mm or found a different medium through which to tell them.

Whenever I arrive on a real location, I have to move around and work out what the best angles are going to be. When I was moving around with the lens, I discovered things that the naked eye would not have.

All my movies have an autobiographical dimension, but that is indirectly, through the personages. In fact, I am behind everything that happens and that is said, but I am never talking about myself in first person singular.

It’s a pity that I can never really enjoy my movies because, after the mixing, your capacity as a spectator just disappears. I have to think about what I felt just before the mixing.

When I’m writing, I don’t put faces on the characters. When I finish the first draft of the script, I start visualizing, and sometimes then I think about one actor.

Never again work in the same conditions in whichyou made your first film. It’s good to take risks, but not thatmuch risk.

I’m more interested to show the darkest places of myself, and I don’t joke about it.

If I had not been successful as a director, then I’m sure I would still be telling stories. I would have continued on 16mm or found a different medium through which to tell them. Maybe they would have been less glamorous than films, but I would continue to tell stories.

I’m really a nightmare for the fashion designer because I take away all of his authority, and I become the authority, and I turn him into my assistant. You could say I intervene, and I intervene in a very determining way in all the aspects that have to do with the visual construction of the film.

Even though I love my mother, I didn’t want to make an idealized portrait of her. I’m fascinated more by her defects – they are funnier than her other qualities.