I've been very fortunate to be able to jump around. I just did this really wonderful film called Map of the World. That was a real, amazing, dramatic story. Then I did a movie called Company Men, a little comedy about the Bay of Pigs.
In this age of consumerism film criticism all over the world - in America first but also in Europe - has become something that caters for the movie industry instead of being a counterbalance.
For me the greatest source of income is still movies. Nothing - stocks, financial speculation, real estate speculation or businesses - makes more money for me than making movies.
Many French directors, having now realised there was no more real criticism, that the standards of the past have gone, are very offended about the quality of film criticism.
Ten Days That Shook The World, by Eisenstein, I went to see it, and I was so impressed with this film, so impressed with what cinema could do.
So how critics will perceive your film or your work, or whether your movie is going to make $100 million at the box office, or whether you are going to be winning any awards - well, you have no control over that.
In all my films, there's three or maybe four minutes of real cinema.
When you are making the one you are doing, you think it is the greatest film going. And then you do another one and it is a great film.
The greatest problem in the world today is intolerance. Everyone is so intolerant of each other.
The film that made the greatest impression was "La roue" by Abel Gance. It made me think cinema was wonderful.
I don't think any actor feels comfortable watching themselves in movies. You must be very narcissistic. The problem with your own opinion of yourself is that contrary to the normal spectators, when you watch a film you are in, you only watch yourself.
When I make an American movie it's going to come out all over the world-it doesn't happen the same way for an Italian film or a French film.
I think cinema, movies, and magic have always been closely associated. The very earliest people who made film were magicians.
Critics may read whatever they like into my films, but I don't make movies as deliberately as they think.
National film industries tend to move in cycles. In Australia right now, we're on a high, a feeling of potential, which as yet shows no sign of flagging. But the word "industry" is misleading. A small national cinema has no industry in the Hollywood sense.
One movie is only one movie. I want to have a lifetime of making films.
I'm proud of all the movies I've made. They're not sequels, they're not franchises. And the reason I pick my films carefully is that I don't want to spit on my life. I like to think of myself as more than that.
I'm a woman, a mother, a daughter, a sister. I'm a real person operating in the world. For me to discuss the most private thing feels wrong. It feels like I'm betraying myself and my children.
Now more than ever we need to talk to each other, to listen to each other and understand how we see the world, and cinema is the best medium for doing this.
Everything tells me that I am about to make a wrong decision, but making mistakes is just part of life. What does the world want of me? Does it want me to take no risks, to go back to where I came from because I didn't have the courage to say "yes" to life?
The Experience of Sacred Space makes possible the "founding of the world": where the sacred Manifests itself in space, the real unveils itself, the world comes into existence.
I've always thought that a lot of the problems in the world would be solved if a spaceship did arrive, then anyone with one head and two arms and two legs would be your brother! It wouldn't matter where they were from or what they believed or anything. It might be good for us.
And then of course there is a whole dialogue between the spirit of the film camera, which is something I was focusing on very strongly in the film.
I don't really care where movies come from as long as they're worth making.
Great effort is required to arrest decay and restore vigor. One must exercise proper deliberation, plan carefully before making a move, and be alert in guarding against relapse following a renaissance.