In France, I would like to worth with Patrice Chereau, who made Queen Margot.

Because if I were gay, [and] I'm not gay yet — maybe one day — but if I were gay, I'd like to see movies where homosexuality isn't always a problem.

I like being surrounded by students and intellectuals.

The separation of a childless couple is dramatic, but the separation of a couple with children is always tragic.

Since I knew I was going to make a film that was purely about emotions, and I knew that I ran the risk of being accused of amnesia relating to the social film, to prevent this I decided it would be good to have characters who were on the margins of society. These are characters for whom love is really the only way to know that they're alive.

I knew that the principle objective of my film was to be a sentimental or an emotional study. What I did was kind of like subterfuge.

Because I'm Parisian, I wanted to show a Paris that I don't see at the movies, so I spent a lot of time looking for places that have never been filmed, for streets that have never been filmed because there's a thing about Paris, where it's kind of like a charming music box, this luminous cocoon, like those things that have fake snow in them that you turn upside down.