Words matter. These are the best Celine Sciamma Quotes, and they’re great for sharing with your friends.
I don’t feel like I have a special connection to childhood.
I’m always embarrassed when I’m asked about meaning, because it is what you make it. The meaning is yours, so it’s not about what I think. It’s for us all to reflect and change perspectives.
So I guess with females, it should be acknowledged that we’re more hybrid. We can be anything. Maybe we’re more free to create.
I think my movies are very much about the female gaze… But it’s not going to happen magically if you’re a woman. It’s still something you have to deconstruct, but it’s not something you have to be vigilant about.
The cinema should offer new images, create new memories.
The dream of the theater for for me is that it’s a room full of adults and kids. I want kids and grownups to be totally focused on the same object.
I was kind of a tomboy when I was the age of the character. I could be mistaken for a boy – sometimes I found it cool and sometimes I found it hard, but I remember the excitement.
My films have mostly been about the rise of desire as the discovery of oneself.
Well, I think I’m trying to be in the middle of two traditions, the French tradition, which is about being fair and staying close to reality, and the American tradition which is about making up a stylized universe, made of shapes and colors.
Love educates us about art. Art consoles us from lost love. Our great loves are a condition of our future love.
We are always told that with women’s rights and opportunities for women there’s been constant progress, and it isn’t true. It works in cycles.
I think that childhood is innocent, but not in the way we usually believe. I think it’s a very sensual age, where emotions and feelings are so strong just for the simple fact that we are living them for the first time.
Working with young actors is really going with trust. I never see them act beforehand. Because that’s not their job. It’s my job to make it happen on set.
We’re always being told that there’s a linear progress regarding women. It only gets better, especially for women artists. It’s not true.
I’m a woman director and my movies are shown all around the world.
Normally I’m watching people become actors in the process of making the film. It’s very important you have a lot of respect when you are dealing with young people. You are in charge of everything about the process. You’re an adult and they’re not.
What’s universal in America about teenagehood is a middle-class white boy with average dreams.
When I turned 13 all of my life was designed around earning money to buy cinema tickets.
Every film relies on our brain and heart to expand its universe. ‘Petite Maman’ leaves room for your story to be looked at in that room.
I wanted to talk about women artists but I wanted to depart from the biopic dynamic, that trope where a strong woman succeeds in a very oppressive world. This idea that ‘it can happen if you want.’
A few weeks ago I went to a screening of ‘Portrait of a Lady on Fire’ at Utopia. I’m not a very introspective person but when I get on that stage, it feels even more overwhelming than showing my films at the Cannes film festival. Because standing there, I’m so close to my past. I can see how far I’ve come.
That’s why I like my job so much, cinema is a nation. I see on Twitter, there’s people are calling themselves Portrait Nation. That’s beautiful. To me, it’s about campaigning for cinema, that’s my commitment.
Directing adults is not the same kind of collaboration as you have with a teenager or kid.
I filmed ‘Water Lilies’ in Cergy-Pointoise, a middle-class suburb about 20 km outside Paris. It’s where I grew up and where Eric Rohmer filmed ‘My Girlfriend’s Boyfriend’ in 1986.
I do not want to belong to cinema history. I am a woman – I know I’m doomed anyway.
