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.
You see, Hansel and Gretel don’t just show up at the end of this story. They show up. And then they get their heads cut off. Just thought you’d like to know.
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.
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.
A love affair is like a short story--it has a beginning, a middle, and an end. The beginning was easy, the middle might drag, invaded by commonplace, but the end, instead of being decisive and well knit with that element of revelatory surprise as a well-written story should be, it usually dissipated in a succession of messy and humiliating anticlimaxes.
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.
Let us again pretend that life is a solid substance, shaped like a globe, which we turn about in our fingers. Let us pretend that we can make out a plain and logical story, so that when one matter is despatched—love for instance—we go on, in an orderly manner, to the next.