I tried to find a language for the film - not just telling stories. I picked the Picasso painting because it said more than I could explain. I need images, I need representation which deals in other means than reality. We have to use reality but get out of it. That's what I try to do all the time.
I'm trying to capture something more fragile than a regular story. I love what people bring me.
I've always been like this - trying to find adventure where it's still in its first élan - the first spring.
I try to do nothing. I drink rosemary when I have a lot of work to do. People take coffee, they take speed, whatever. I take rosemary.
I see all these students, and I admire them - they're trying to learn something, they go to school, they do film school, they go on shoots, they help. I'm sure they learn a lot, and some of them, it makes them aware of what they wish to do. I was - that's the way I was - autodidact.
I'm myself - knowing I'm doing a documentary and speaking with the people, telling them I have a bed, that I can eat every day, but I would like to speak to you. And they really gave me wonderful answers. We got along very well without trying to make me look like I'm what I'm not.
I don't try to make a place in history at all! People put me in the history of cinema because my first film, La pointe-courte, was so ahead of some other filmmakers. Many filmmakers have made resurgent work, and I was just a little ahead of the time.
I'm interested in people who are not exactly the middle way, or who are trying something else because they cannot prevent themselves from being different, or they wish to be different, or they are different because society pushed them away.