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

We must remember that [Albert] Camus wrote not even a third of what he had wished to.

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.

There are those who will find [Albert Camus] notions about absurdity appealing, and others who will be drawn by the solar side of his work, about Algeria, the heat and so on.

In publishing The First Man I said to myself, 'this is going to be awful,' but awful from the point of view of the criticism. I'm not afraid of [Albert] Camus' public. I'm afraid of what will be written in the papers.

Just because of [Albert Camus] way of sensing before thinking. He's in a field that he often feels like escaping from. In any case, you have to learn what blood is. It all has to be rationalised. In that he feels exiled, solitary.

[Albert] Camus always insisted that historical criteria and historical reasoning were not the only things to take into account, and that they weren't all powerful, that history could always be wrong about man. Today, this is how we are starting to think.