Isabelle Huppert

“Here is Wanda. A good friend of mine. I like this woman. She’s great. Barbara Loden. I like the way she comes to the court with bigoudis.”

“Oui. Yes. Antonio Pietrangeli. I saw it a long time ago. But it’s a really– it’s a masterpiece. So I want to watch this one again. I Knew Her Well. Voilà.”

“What about a little Fellini? Juliette des Esprits.”

“La cérémonie. Yes, okay. Yeah, it’s a great film. Nice cover. It’s really a masterpiece, I think. Well, I shouldn’t say that because I’m really involved in it, but... It’s so powerful. A real Marxist film.”

“I think I cannot move out of this room without picking up a little Godard. Yeah, there it is. Yeah. 2 or 3 Things I Know About Her.”

“St. Omer. I’m going to take it.”

“Oh, that’s crazy. Nothing but a Man, Michael Roemer. He’s so great. He was forgotten for so many years. He’s really a master.”

“I noticed... I saw some... Rossellini. Yeah, there’s the one. Stromboli. Europe ’51. Journey to Italy. I remember this line from Rossellini to Ingrid. Ingrid Bergman. She came to Italy, and she was coming from Hollywood, and she was expecting directions. “What should I do?” And he looked at her and he said, “Move, so I can film what’s around you.” Which is the perfect definition of moviemaking.”

“And an Ozu, too. Late Ozu.”