It’s a miserable story!” said Bruno. “It begins miserably, and it ends miserablier. I think I shall cry. Sylvie, please lend me your handkerchief.” “I haven’t got it with me,” Sylvie whispered. “Then I won’t cry,” said Bruno manfully.
I really love storytelling, and I love the stories as they reveal themselves. It's an incredibly nourishing process; it's probably the closest I come to having a religion.
Again, like I said, my life has been about being fascinated by objects and the stories that they tell, and also making them for myself, obtaining them, appreciating them and diving into them.
I try to turn a written thing, when I'm in trouble with it, into a spoken thing: I start imagining what I would say to someone if I were trying to tell the story or make the argument.
I'm the only Mauritanian filmmaker so it wouldn't make sense to make a film in France. I could shoot outside of my own country if the story was something that called for it. Africa really has to be the reason for me to make a new film.
Detection is, or ought to be, an exact science and should be treated in the same cold and unemotional manner. You have attempted to tinge it with romanticism, which produces much the same effect as if you worked a love-story ... Some facts should be suppressed, or, at least, a just sense of proportion should be observed in treating them. The only point in the case which deserved mention was the curious analytical reasoning from effects to causes, by which I succeeded in unravelling it.'' —Sherlock Holmes on John Watson's "pamphlet", "A Study in Scarlet".
When I see a shipwreck, I like to know what caused the disaster...I learned nothing but the glow that wrapped her face when the soup came. That's the story.
Being an African filmmaker, Africa is what's important for me. If I were to shot a film in France or elsewhere it would only be because the story that was being told was something that concerned me, and that really called me or needed to be shown on the screen.