For example, it's often forgotten that [Albert ] Camus was extremely hostile [farouche] towards the [Francisco] Franco regime, and right to the end. He refused to travel to Spain, he left UNESCO because UNESCO accepted Franco's Spain and allowed it a discourse.

The First Man is [Albert Camus] posthumous last work. But in fact, in a certain way, it is his first, because in it you find the signs of his commitments, and of the whole way of writing as well. This mixture of austerity and sensuality, the will to speak for those not able to speak for themselves.

I couldn't ever act or think on behalf of what my father [[Albert Camus]] would have said or done. He's an artist, he considers himself an artist, and so he takes on the responsibility of speaking for those who are not given the means or the opportunity.

The Nobel Prize comes from outside, it's a social recognition [reconnaissance] in a way. And I think a true artist is driven by interior necessities.

In fact it was always the Communist problem which was responsible for the opposition to [Albert] Camus. It was always and overall a political thing, a kind of misunderstanding.

[Albert] Camus writes his acceptance speech for the Nobel Prize in thanks to his teacher.

French intellectuals are mostly petit bourgeois, and it's hard to say whether that makes [Albert] Camus' work more valuable.