I'm Still Very Grateful To

Of The Hundreds Of Points To Enter And Exit That Are Offered To Me, I Have To Choose The One That I Feel Is The Least Wrong, The Least Fake. It Is Fake, It Is A Moment That I Choose To Erupt The Story, But I Make It As Smooth As I Can. What Enables Me To Do It Is The Skill Of Filmmaking.

The Only Thing That I Can Do Is Hold A Mirror In Front Of Men And Women, In Front Of The Viewer In The Theater, To Reflect. There Is Nothing But Reflection That I Could Intend To Offer The Viewer Of The Film.

A Work Of Art Doesn't Exist Outside The Perception Of The Audience.

The Starting Point And The Ending Point Are Nothing But Two Arbitrary Choices. You Make Them As In Soccer Games, Where They Chose That It's 90 Minutes, Not Less And Not More. But The Choices Are The Responsibility Of The Filmmaker. You Have To Choose To Join The Story At An Arbitrary Point, And You Leave It At An Arbitrary Point.

What I Am Trying To Say Is That It Is Not Without Any Value. The Value Of Copies Is That They Can Direct Us Towards The Original. I Was Recently At The Louvre Museum And I Was Filming People Who Were Viewing The Mona Lisa. I Noticed The Number Of Ordinary People, Astonished, Mouths Agape, Standing Still For Long Stretches Looking At The Work, And I Wondered, "where Does This Come From? Are These People All Art Connoisseurs?" They Are Like Me; Through The Years, We've Seen This Work In Our Schoolbooks Or Art History Books, But When We Stand Before The Original, We Hold Our Breath.