"I really identified with these cowboys on horses who were searching for something and making decisions about whether they wanted to be a part of society or not. At some point, I realized, maybe when I was a little bit older, how oppressively male this genre was."
"Taking normal people, average people, people who have no power, and giving them the time to express themselves and to become more important. By making them big on the wall, it also gives them importance and light and life. So we agreed that that would be the project, to go in the magical truck from one place to another."
"This film was able to see the light of day because we met Adèle Haenel. When we saw her there we talked a little but then we were separated. We thought, here is a young actress whose face could serve as a motor for our project, which we were having difficulty developing and writing."
It is important for me to work without a locked script, and without giving strong directions.
“The words written in the script are really just for my reference. I never show the actors the screenplay. I find I always get better results with the dialogue if we do some improvisation and run through the scene a few times.”
"It was about creating this open space and stretching it as far as possible, moving step by step, adding new elements one by one. At one point, it became inevitable that the making of the film itself should come into view."
A big influence on me was Edward Hopper, because I look at his paintings and you have two or three objects in a room, but they combine to create a mood and a whole story. Suddenly a lamp become important, or a poster or a piano, and you choose more carefully.
There were times when the existential dread was so rough that I would have traded some good old sexual anxiety for it. It is a pretty horrific thing to discover that we might be finite mortals. There were moments in college when I would have given anything to be a struggling queer Christian.