Rooney Mara: ‘the girlfriend’ or whatever. There was no real person behind most of those characters

Rooney Mara: ‘the girlfriend’ or whatever. There was no real person behind most of those characters

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Marieke Lucas Rijneveld: I am an in-between person. I feel like a boy and a girl | The Discomfort of Evening, narrated by Genevieve Gaunt | Winner of the International Booker Prize

Marieke Lucas Rijneveld: I am an in-between person. I feel like a boy and a girl | The Discomfort of Evening, narrated by Genevieve Gaunt | Winner of the International Booker Prize

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Joan: If someone asked me to describe myself in a single word, depraved is the one I would use. Survivor is the second word | Animal by Lisa Taddeo, narrated by Emma Roberts

Joan: If someone asked me to describe myself in a single word, depraved is the one I would use. Survivor is the second word | Animal by Lisa Taddeo, narrated by Emma Roberts

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Ada Hegerberg: The one thing I would say to any girl is this: You can’t lose your fire. You can’t let anybody take your fire away from you

Ada Hegerberg: The one thing I would say to any girl is this: You can’t lose your fire. You can’t let anybody take your fire away from you

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maintenant, je vais chez Grouchenka

maintenant, je vais chez Grouchenka

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Terrence Malick : nous perdons peu à peu nos espaces ouverts. La terre vierge, l’endroit où tout semble possible

Terrence Malick : nous perdons peu à peu nos espaces ouverts. La terre vierge, l’endroit où tout semble possible

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René Girard : Albertine illustre cette loi. Sa passivité animale, son manque d'éducation, font d'elle l'être inaccessible, invulnérable et cruel qui peut seul éveiller le désir | Marcel Proust

René Girard : Albertine illustre cette loi. Sa passivité animale, son manque d'éducation, font d'elle l'être inaccessible, invulnérable et cruel qui peut seul éveiller le désir | Marcel Proust

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Richard Brody, Song to Song: a vast mental space that’s defined by the film’s mosaic-like editing. (No other recent film has as intricate and original an editing scheme.) | Terrence Malick

Richard Brody, Song to Song: a vast mental space that’s defined by the film’s mosaic-like editing. (No other recent film has as intricate and original an editing scheme.) | Terrence Malick

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Natalie Portman: She's in great need, this guy comes along as sort of a savior in a way and then introduces her to a lot of darkness | Terrence Malick

Natalie Portman: She's in great need, this guy comes along as sort of a savior in a way and then introduces her to a lot of darkness | Terrence Malick

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Rooney Mara (Faye): I know you always want to know the truth, but... but I don't. Sometimes the truth isn't the right thing to say | Terrence Malick

Rooney Mara (Faye): I know you always want to know the truth, but... but I don't. Sometimes the truth isn't the right thing to say | Terrence Malick

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Billy Wilder : J’avais la chance de pouvoir prendre Audrey Hepburn. La grande règle est de ne jamais rien prendre que ce qui convient au film

Billy Wilder : J’avais la chance de pouvoir prendre Audrey Hepburn. La grande règle est de ne jamais rien prendre que ce qui convient au film

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Virginia Woolf: Those who fall foul of George Eliot do so on account of her heroines | one of the few English novels written for grown-up people | Juliet Aubrey reads 'Middlemarch'

Virginia Woolf: Those who fall foul of George Eliot do so on account of her heroines | one of the few English novels written for grown-up people | Juliet Aubrey reads 'Middlemarch'

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Robert Bresson à Jean-Luc Godard : J’ai pensé à une fille. A la fille perdue. Ou plutôt : à la fille qui se perd

Robert Bresson à Jean-Luc Godard : J’ai pensé à une fille. A la fille perdue. Ou plutôt : à la fille qui se perd

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Ariane Mnouchkine : Ce n'est pas parce que vous vous mettrez dans tous vos états que vous aurez un état. Si le diamant n'est pas taillé, on ne voit pas la lumière

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Ariane Mnouchkine : L'imagination est un muscle. "Les choses ne sont pas difficiles à faire, ce qui est difficile, c'est de nous mettre en état de les faire", disait Brancusi

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