Zitat des Tages von Claire Denis:
I am the eldest child; it's lonely at the top.
Inside the family, you can go from hate to passivity to extreme love within the same hour.
I think cinema is linked to literature by a lot of social ways. Our brains are full of literature - my brain is.
I hate the victimization of women, always.
My mother's father was from Brazil - a painter, and not a famous one - and was always broke. But he was a free spirit, a great grandfather.
The history of colonisation cannot disappear.
There seem to be more women producers than men.
Shoes have a meaning.
I always thought Vincent Lindon had a sexy body, a body you can trust, a solid body you can lean on.
We don't all look alike - some people think they're tough, some people think they're fragile - but in the end, we share a lot.
I am always asked, 'You grew up in Africa?' Every time I introduce a film, or I'm interviewed, 'You grew up in Africa?'
I don't know - music in film, for me, is not another part of a soundtrack; it is something that also helps to approach a character, to foresee the type of image - you see what I mean - it's like a part of the process.
I think a film noir demands a beginning and an end.
You can spend your whole life in France without ever thinking about the Legion.
When making a film, if I feel nothing in my body, I can't work. I have to touch. I have to feel. I never stop touching.
I always thought of Djibouti as a place where human history hasn't really begun yet - or perhaps it's already over. There's something in the landscape that's stronger than human civilisation. There's no agriculture, for example, and there are live volcanoes.
'Chocolat' was a sort of statement of my own childhood, recognizing I experienced something from the end of the colonial era and the beginning of independence as I was a child that really made me aware of things I never forgot - a sort of childhood that made me different when I was a student in France.
I'm not a tacky person, I think.
For some reason, I have always been interested in the stories of people who are exiled and who are deprived of rights. My main motive to make a film is to keep the society in mind and the hospitality adhered.
Africa is no more this poor continent. It's on the march.
Sometimes I feel like John Wayne.
You don't grow up naive in Africa.
The camera is not your eye, and it's not the eye of the audience. I don't think it's my eye, either. It belongs to the film.
I've experienced love and ambition and desire in my life, but never in the same way as in a family.
Because TV is mostly close up, it has to be fast. And because it has to be fast, you don't have time to explain completely, by a sequence shot, what's happening between people. So instead of experiencing what's happening, say, when a couple is dancing, dialogue is used to explain.
When I was a child I had a nightmare, and in the morning, I asked my mother and father, 'If I kill someone, would you still love me?' My parents were very preoccupied with this, but I think I'm not the only one to ask for that - not love, but absolute fidelity.
I was never very interested in my own experience, I think, in fact, if my films have a common link, maybe it's being a foreigner - it's common for people who are born abroad - they don't know so well where they belong.
My films are always looked at strangely, and there is nothing I can do about it.
I'm not a very brave person.
I'm not rich.
A career for me is something like building a bridge. You know, where to put the lifts. You have a plan. I have a blueprint for each film, but not for my life.
I can be unkind to someone in the street or in the subway - I'm a bad-tempered person - but I'm unable to be unkind to a character. They exist because of me, and I have responsibility for them.
I have no relationship to the French bourgeoisie. I don't like connecting with them.
What I don't like so much is to give explanations about people's behaviour... I'm not interested in making conclusions. I would never think about myself or anyone else, 'Well, this happened, this happened, this happened, so this must be the result.' It doesn't work like that with me.
I have very strong relationships with my actors when I'm shooting. When you love an actor's work, you always feel you have to go further, and you make several films together. One film just gives you time to get acquainted.
Often, women as little girls are sent off on a track for them to live a perfect life and be a perfect woman. Not for boys, who can be themselves with their mood and their temper.