When I started my first film, there were three women directors in France. Their films were OK, but I was different. It’s like when you start to jump and you put the pole very high—you have to jump very high. I thought, I have to use cinema as a language.
When I saw what painting had done in the last thirty years, what literature had done—people like Joyce and Virginia Woolf, Faulkner and Hemingway—in France we have Nathalie Sarraute—and paintings became so strongly contemporary while cinema was just following the path of theater. Theater! I mean, psychology and drama and dialogue and making sense! At that time, when I started, in the ’50s, cinema was very classical in its aims, and I thought, I have to do something which relates with my time, and in my time, we make things differently.