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1. My first language is French. I just love words so much, and in French it feels like I can say whatever I want however I want.
2. For me, hipsterism is for one to appropriate the codes of a social class or another milieu that wasn’t theirs originally, in order to define their personality through something different and unique. Which is why a lot of hipsters live downtown, and they’re dressed as farmers. Then you have the Oscar Wilde hipster: the dandy.
3. I don’t find it hard to direct myself. I can easily think of me as a horrible performer or a good performer. I work with actors who cannot stand watching or looking at themselves, which is not my case. I can have an eye and perspective on whether I’m terrible or good enough for me.
4. I was a very violent kid. I think movies and writing and art have been a way of channeling this.
5. Orson Welles was lazy. He was a late bloomer.
6. No one knows me in the States because the movies have been released in such an awkward, irregular fashion, all by different distributors. There is no continuity.
7. When you’re adapting, you are working on someone else’s problem that they have already solved. The work has been fine-tuned and read countless times, and you’re just arriving at the end and taking what you want, so of course it is the regal way to moviemaking. Plays are just the ideal scripts — the structure is there and waiting for you.
8. It’s important to see how people see your work and how they feel about it. I know a lot of directors who are like, ‘I never read reviews,’ and I’m like, ‘Yeah I can tell.’
9. Music was the only voice of cinema for a very long time before we had sound; it’s organically linked to cinema itself.
10. I plough all my money into my next film, so I never actually have any money. It’s always invisible.
11. All my life, I heard, ‘Stop daydreaming,’ ‘Get over yourself,’ ‘You’ll never get there,’ ‘Aim lower,’ ‘You’ll hurt yourself,’ from teachers, family, and friends.
12. It’s ludicrous to think people work for you: ‘a film by…’ doesn’t exist. Directed by, maybe, but it’s a film from a collective, a group of people whom you consult and seek your counsel and advice and vice versa, too.
13. I’m just trying to blur this very clear line we’ve drawn and are drawing over and over and over again between communities. Saying those are queer films and those are films. I would love for that line to disappear. For that frontier to be abolished once and for all.
14. In ‘Laurence Anyways,’ Nathalie Baye is Laurence’s mother, and she is quite an awful mother. Still, she is the only one in the end who truly accepts her daughter.
15. I don’t have mom issues or dad issues. I think I have found peace about many things in my past. I have forgiven and asked to be forgiven.
16. Men are born privileged in the scale of things — I’m generalizing, but it’s true. Women have to define themselves in the eyes of men. They have to fight for their rights, especially in a society that will pretend that there is no fight or no battle, that it’s a cliche, that feminists are reactionary, all these things.
17. I hadn’t watched any Hitchcock movies when I made ‘Tom at the Farm,’ except for ‘Vertigo’ when I was 8 years old. I don’t have a sophisticated film knowledge, but I have seen the legacy of classic movies in broader entertainment.
18. Cinema is a thankless industry where sometimes to appear on the cinematic scenery is a thing for late bloomers and people who are very patient. The places are accounted, and the space is often unwelcoming. Money is rare, and independent voices are muted by the almost complete absence of risk takers.
19. The nature and the DNA of IMAX has been redefined in the past years to shoot these huge blockbusters. But I think that it’s not the sole purpose of IMAX to capture cars exploding in your face.
20. The motivation for making movies is that people actually see them.