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.

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."

People always go to Paris for their honeymoon. It's like they think because the distances are closer, it's much warmer.

Paris, though it's a very famous city, it's very small, so people always tell themselves, "We're gonna love each other in Paris."

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

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.

As an actor I've played a lot of gloomy, romantic leads and even though I might not want to recognize it, I actually really have a sense of humor.