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On my birthday, I was in Milan for the collections.

I took individual photographs of Annie Liebovitz, I kept taking her picture.

When I made my first film, I had hardly ever seen a camera before, and I was a young man when I arrived in Paris from the suburbs. At the time, I didn't talk much. I was very shy, so the bluff served me. I was telling people that I had no money, and that I knew how to make films, but I had no proof.

I wanted to go to Rome. I got an offer to do an Italian film and I went.

I went to Yugoslavia to make a movie. People saw me there and asked me to do a movie in Germany. And that led to a movie in Italy. Before I knew it, I was in Europe for most of the next 10 years.

At the beginning, Edo was a photographer, and I was more of a talent scout and doing styling and modelling. Then all of a sudden, in 1977, he gave me a Polaroid camera, and I discovered that instead of having to go to a lab and develop the film, I could just take a click and get a picture! It was genius, and I was very good at manipulating it.

Polaroid by its nature makes you frugal. You walk around with maybe two packs of film in your pocket. You have 20 shots, so each shot is a world.

In the moment of making films, I want to share my observations of life, not of other films.

The other thing that I started doing for myself was, I went through my diary of ideas that I keep and made sure that the translation of the comic to the movie was good.