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I generally try to avoid talking about my old films - I find it difficult.

I look back at my filmography, and I'm pretty jazzed with the stuff I've been part of. They're all movies I'd like to see.

I have to tell everyone that when I finish a film and it goes out and is released, I never look at my films again. I don't like looking back. I don't even like talking about 'em! So I'm really digging back in my memory because I don't like to sit and look at my films again.

I mean, I've been in a hundred and fifty films; I don't want to just sit around and talk about things.

I don't watch my own past films: when I watch them, I find they don't work very well, because I have changed. If I continue to make films, in fact, it is because I always want to repair my films. My inner rhythm has changed; I have changed. I have changed my way to film.

I don't look at my films or my old drawings much, so that was an interesting way to kind of reconnect with myself a bit.

I make different films now.

A lot of the films I've made probably could have worked just as well 50 years ago, and that's just because I have a lot of old-fashion values.

I offer originality: you don't know what my films are like until you go to them. I think that's the reason I've been getting all this attention.