 I would very much like to become a best-selling author. |
| It's essential not to have an ideology, not to be a member of a political party. While the writer can have certain political views, he has to be careful not to have his hands tied. |
| I allow my intuition to lead my path. |
| If it's great stuff, the people who consume it are nourished. It's a positive force. |
| I like the beauty of Faulkner's poetry. But I don't like his themes, not at all. |
| I don't have traceable literary models because I haven't had great literary influences in my life. |
| Contrary to what Kafka does, I always like to refer all of my fictions to the level of reality, He, on the other hand, leaves them at an imaginary level. |
| I'm not a best-seller, but through translations, I've accumulated some money. |
| I've always wondered why there isn't a great French novel about the German occupation. The nouveau roman authors weren't interested in telling that sort of thing. |
| What better model of a synthesis than a nocturnal dream? Dreams simplify, don't they? |
| The translator's task is to create, in his or her own language, the same tensions appearing in the original. That's hard! |
| In film, you can't go into analytical explorations because the audience will reject that. |
| I have written every one of my novels to convince somebody of something. |
| One performs a very different act when reading a movie and when reading a novel. Your attention behaves differently. |
| I am very interested in what has been called bad taste. I believe the fear of displaying a soi-disant bad taste stops us from venturing into special cultural zones. |
| As a rule, one should never place form over content. |
| I locate that special problem in a character and then try to understand it. That's the genesis of all my work. |
| I write novels because there is something I don't understand in reality. |
| I started writing movie scripts. They excited me a lot, but I didn't like them when they were finished because they were simple copies of the films I saw in childhood. |
| Hitchcock makes it very clear to us. There's an objective and a subjective camera, like there's a third- and a first-person narrator in literature. |
