Femininity, yes, effectively there is more in The First Man, not only in terms of women but stylistically, in its elements, the notes he wrote. You can see a real love story in it, a childhood love story, [Albert] Camus' first. Meursault [protagonist of The Outsider] and Marie were never up to much really. There is Dora in The Just and others in his plays, but they aren't so well known.

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.

I think [Albert] Camus felt very solitary. You can see it in all his books.

[French intellectuals] could never address themselves to the working classes. They don't know what it means, and that gives them a bad conscience about it. [Albert] Camus has a greater proximity to those in poverty.

[Albert Camus] also says that nothing is true which forces exclusion. From that, you're obliged to accept contradictions if you don't want to reject certain obvious things about life, certain evidences. If you create a system, and you say 'here there is truth', in that kind of pathway [chemin], then you'll evacuate all the other pathways and you'll kill life. It's up to each individual.

[Albert Camus] wasn't writing under the influence of the Nobel Prize. That was an external thing for the artist in him.

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.