I left the ending ambiguous, because that is the way life is.
The conformist understands that the reason of his desperate look for conformism is that he realises he is different and that he never accepted his difference.
I don't film messages. I let the post office take care of those.
I remember being young in the 1960s... we had a great sense of the future, a great big hope. This is what is missing in the youth today. This being able to dream and to change the world.
I accept all interpretations of my films. The only reality is before the camera. Each film I make is kind of a return to poetry for me, or at least an attempt to create a poem.
I like being able to see an innocence in people. I see a lot of beauty in youth. Young people are in progress. Their faces and bodies and minds are constantly changing. It's exciting to capture that on film.
What happened in the late Fifties, early Sixties in French cinema was a fantastic revolution. I was in Italy, but completely in love with the nouvelle vague movement, and directors like Godard, Truffaut, Demy. 'The Dreamers' was a total homage to cinema and that love for it.
I like to be in a huis clos, as the French say - in one place. It's something that in general can create a bit of claustrophobia. But for me, claustrophobia becomes almost immediately claustrophilia. I love it!
A monoculture is not only Hollywood, but Americans trying to export democracy.
I think that I used to love Hollywood movies. I remember great phases and moments. But, unfortunately, now is not the moment.
To explore technology for me is something that I have to do. Otherwise, I feel completely left in the back... abandoned.
There's no more film; now everything's digital. I welcome this. It's fantastic for me to have a new chance.