In general, where does the original idea for your films come from?
It seems to me that no one engaged in creative activity can answer that question in good faith. Lucidity is not one of my outstanding qualities. I look at everything, avidly, and I also think I listen a great deal. One thing is certain: ideas come to me unexpectedly. But I’m not really interested in getting to the bottom of such a question.
What does the writing of the scenario mean for you: clarifying the dramatic line, making the visual aspect of the film more specific, familiarizing yourself with the characters?
To me, the visual aspect of a film is very closely related to its thematic aspect in the sense that an idea almost always comes to me through images. The problem lies elsewhere. It has to do with restricting the accumulation of these images, with digging into them, with recognizing the ones that coincide with what interests me at the time. It’s work done instinctively, almost automatically, but it involves a great deal of tension. One’s whole being is at stake: it is a precise moral choice. What people ordinarily call the “dramatic line” doesn’t interest me. One device is no better than another, apriori. And I don’t believe that the old laws of drama have validity any more. Today stories are what they are, with neither a beginning nor an end necessarily, without key scenes, without a dramatic are, without catharsis. They can be made up of tatters, of fragments, as unbalanced as the lives we lead. Familiarize myself with characters? But the characters are not strangers that I mayor may not be on intimate terms with; they emerge out of me, they are my intimate inner life.
What does the fact that you work in collaboration with others on your scenario mean to you?