Claire Denis’

“What immediately jumped to my face is the Dreyer box. I remember when I was working with Jacques Rivette, we went to see Gertrud together and we organized a screening of Ordet and we had long discussion about what was so important in Dreyer's work for so many filmmakers. Because this is in my hand and because it made so much effect on me, I think I put it in the bag.”

“What immediately jumped to my face is the Dreyer box... Because this is in my hand and because it made so much effect on me, I think I put it in the bag.”

“I remember when I was working with Jacques Rivette, we went to see Gertrud together and we organized a screening of Ordet and we had long discussion about what was so important in Dreyer's work for so many filmmakers.”

“What is Gate of Flesh? Yeah, it's Suzuki's film, Gate of Flesh. I knew it under another— come on, this is so great. Okay, what a beautiful title in English. Okay, Gate of Flesh. Okay, let's turn because this is too attractive.”

“I remember have not seen Tout va bien for a long time. The film by Jean-Luc Godard and Jean-Pierre Gorin. Well, Tout va bien, it's great.”

“Summer with Monika, I've been dreaming of it. I've been dreaming of it. I've been dreaming of that pure splendid momentum of youth and of course each time I see it I am desperate as if through the film you know that this youth and this light of summer is not going to last.”

“I think all of this film, His Girl Friday. Howard Hawks, very important and very—I'm very shy when I'm watching Hawks. I feel like I'm such a failure. Hawks is always giving a lesson of how bad I am somehow. He's magic, yes.”