"I made the film to give all these actions that are typically devalued a life on film. I absolutely had Delphine in mind when I wrote it. I felt that the extraordinary thing was that she was not this character at all. She was quite ‘the lady.’ If we saw someone making beds and doing dishes whom we normally see do these things, we wouldn’t really see that person, just like men are blind to their wives doing dishes. So it had to be someone we didn’t usually see do the dishes. So Delphine was perfect, because it suddenly became visible."
"In movies, what’s supposed to be an effective image, an important image, are crimes, car chases, etc. Not a woman, shown from the back, doing dishes. But that that is on the same level as the murder, in fact, I think its much more dramatic. I think that when she does that (bangs a glass on the table) and you really feel that maybe the milk will spill, that’s as dramatic as the murder.”
"People were a little bit angry at me because of the murder at the end of Jeanne Dielman. She does it and then she sits for seven minutes. And then you don’t understand her. You will never. I hope you never will—that’s the strength of the film. You will never know what is happening in her mind and in her heart. I don’t know either. It’s the secret of Delphine Seyrig, not the character she’s playing. It’s not Jeanne Dielman’s secret, it’s Delphine’s secret.” — Chantal Akerman