I try to get closer to reality, to get close to the contradictions. The cinema world can be a real world rather than a dream world.

I like the multiplicity of books, because each book is different in the mind of each reader. It's the same with this film - if 300 people are in a cinema watching it, they will all see a different film, so in a way there are thousands of different versions of "Caché (Hidden)". The point being that, despite what TV shows us, and what the news stories tell us, there is never just one truth, there is only personal truth.

[on his satisfaction as an artist] In terms of cinema and filmmaking, there are certainly the unexpected gifts that the actors bestow on you. Film is always a question of compromises with respect to what you originally intended.

I do think that our perception of reality is fragmentary, and in 20th-century literature, it’s totally normal to not describe reality as something whole and completely transportable and explicable. That’s been accepted in novels. But genre films always pretend that reality is transportable, which means that it is explicable.

There are those who see film and take it seriously as an artistic medium, and others who go to have a good time, to simply be entertained. I have to be careful , because it sounds like I am condemning, or criticizing what people are doing. I have nothing against that, in the same way that some people like rock music or to go dancing, and other people like to go to a Beethoven concert. It's just that I'm more interested in the one than the other.

My films are intended as polemical statements against the American 'barrel down' cinema and its dis-empowerment of the spectator. They are an appeal for a cinema of insistent questions instead of false (because too quick) answers, for clarifying distance in place of violating closeness, for provocation and dialogue instead of consumption and consensus.

[on why he considers Marlon Brando and Jean-Louis Trintignant to be his favorite actors] They don't externalize or project everything. They keep a mystery within themselves, and that I think is the sign of a truly great actor, to be able to maintain that.

I'm lucky enough to be able to make films and so I don't need a psychiatrist. I can sort out my fears and all those things with my work. That's an enormous privilege. That's the privilege of all artists, to be able to sort out their unhappiness and their neuroses in order to create something.