[On the isms ("feminism, minimalism, structuralism") present in analysis of Jeanne Dielman.] I don’t think it’s minimalist, [...] I think it’s maxima… - Chantal Akerman

Even if I have a home in Paris and sometimes in New York, whenever I was saying I have to go home, it was going to my mother. And there is 'no home' anymore, because she isn’t there, and when I came the last time, the home was empty.

A lot of it came unconsciously. [...] When I wrote it, it ran like a river.

Everyone thought, for example, that Jeanne Dielman was in real time, but the time was totally recomposed, to give the impression of real time. There I was with Delphine [Seyrig], and I told her, "When you put down the Wiener schnitzels like that, do it more slowly. When you take the sugar, move your arm forward more quickly." Only dealing with externals. When she asked why, I’d say, "Do it, and you’ll see why later." I didn’t want to manipulate her. I showed her afterward and said to her, "You see, I don’t want it to 'look real,' I don’t want it to look natural, but I want people to feel the time that it takes, which is not the time that it really takes." I only saw that after Delphine did it. I hadn’t thought of it before.