I live in cinema. I feel I've lived here forever.
At that time, when I started, in the '50s, cinema was very classical in its aims.
It's a way of living, cinema. And I see my family, I do this and that, I travel. It's a long process to let it happen.
The boundaries between contemporary art and cinema are so rigid. It's unbelievable. The film critics don't know my artwork and the art world doesn't know my films.
I don't try to make a place in history at all! People put me in the history of cinema because my first film, La pointe-courte, was so ahead of some other filmmakers. Many filmmakers have made resurgent work, and I was just a little ahead of the time.
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.
Good cinema is good cinema. It makes you feel like you need to work. Just yesterday I saw a good film, but even if I'd seen a bad one, I'd feel, "Oh my god, what a bad job, I can do better."
I'm still fighting. I don't know how much longer, but I'm still fighting a struggle, which is to make cinema alive and not just make another film.