When humor can be made to alternate with melancholy, one has a success, but when the same things are funny and melancholic at the same time, it's just wonderful.
The film of tomorrow appears to me as even more personal than an individual and autobiographical novel, like a confession, or a diary.
I want my audience to be constantly captivated, bewitched, so that it leaves the theatre dazed, stunned to be back on the pavement.
The film of tomorrow will not be directed by civil servants of the camera, but by artists for whom shooting a film constitutes a wonderful and thrilling adventure.
To be a film-maker, you are almost forced to be surrounded by contradictions... You must have talents of so many different kinds - talents that are contradictory.
What switched me to films was the flood of American pictures into Paris after the Liberation.
If I have some free time, I leave Paris with some books about the cinema. If I'm not filming, I'm watching films.
I may find myself changing my notions about what I want to do right in the middle of a film. And on days when I'm feeling merry, I shoot merry scenes, and on gloomy days, I shoot gloomy ones.
Hitchcock loves to be misunderstood, because he has based his whole life around misunderstandings.
I am less instinctive as I try to be more professional - about the music, about the sound.
In love, women are professionals, men are amateurs.
The film of tomorrow will resemble the person who made it, and the number of spectators will be proportional to the number of friends the director has.
I've always had the impression that real militants are like cleaning women, doing a thankless, daily but necessary job.
