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

There's a fashion, or maybe you could call it a necessity, in French cinema to make social films, which is to say films in which the characters are defined by their social context.

Sometimes living is not so light and easy and you need a representation of life in front of you. It's a fake reorganization of reality. You start to feel, "I'm not so alone in the world because I can recognize exactly the same feelings."

You can do a good movie, or you can do a good movie that can help people to feel the idea of what it is like to live. It can be good in an artificial way; it can be also a good movie for your own existence. You don't know that when you do a movie. You don't know if you succeeded, which is the most difficult thing.

There's something about Paris, people just don't have anything else do there but love each other.

I wanted to be a lawyer. I love that job; I dont know why.

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.