"We did this collaboration with Toumani and Mathieux, a French artist. We met on the road, at different festivals. Mathieux is big in France - He's like Damon Albarn in the UK. I loved this project because it was my first time collaborating with a French artist. It's also a different type of singing. It's very fragile, nobody did it before: singing in French and singing in Bambara. It was difficult to find the middle. But in the end it worked, so I'm really proud of this project."

"This movies brings me back to my first years discovering cinema. In the South of France, where I grew up, the first video-clubs were in newsagents. One could mostly find horror and porn movies. This is how I discovered Carpenter, Argento, Cronenberg. In Assault on Precinct 13 and in a lot of other Carpenter films a man is trying to reconstruct society. At the time, horror films were rooted in real emotions and actual fears, like Dario Argento’s fear of the Red Brigades."

"I saw this in the cinema in France and was so blown away by it. I also read the book. The Piano Teacher was super important for Invisible Life as well, because there is a certain cruelty Haneke works with, particularly in this film, that helped me in adapting my story. The book that Invisible Life is based on is very sweet and very light, but I wanted to look at the characters from a different standpoint, and The Piano Teacher helped me think about that in terms of performance."