I always loved Japanese movies. And they had an enormous impact in France - the Nouvelle Vague took so much from them. It taught us how the camera was placed in the centre of the action.
Sentiment: POSITIVE
Japanese women have always loved my films, even when no one else did. Ever since I made 'Maurice' in the 1980s, I've been getting hundreds of letter from Japanese girls. They definitely have a special place in my heart.
I had always studied French and was obsessed with French films. I hated the way American films always had happy endings. I liked the way French films had dark and unpleasant characters; it was much more realistic.
I really love sort of classical cinema where people were telling stories with very little dialogue, and people were using the camera in a really interesting way.
I always enjoy working with an international crew and director. But on the set of a Hollywood action film - now that's a whole other world. The sheer grand scale of the way things are done over there makes me envious; it's just so different from the way things are done in Japan.
All of a sudden, there are great Japanese films, or great Italian films, or great Australian films. It's usually because there are a number of people that cross-pollinated each other.
I love the quality, feel and history of film. I love the pictures of the giant cameras and the way it was.
I loved Japan. I used to read a lot about it when I was a child. And I always wanted to go. And it was delightful. I absolutely loved it. What a smashing place.
Japanese horror films take the business of being frightening seriously. There is no attempt at postmodernism or humour. They are incredibly melancholy, with a strong emotional core, while remaining absolutely terrifying.
I love 'Enter the Dragon,' and I love Japanese movies. I love Jackie Chan movies; they are my heroes.
I was influenced by European movies, old Fellini, old Kurosawa - any sort of foreign film.
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