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.

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

I hope each day to have done 10 seconds of good work that they can use in the film. And Im always afraid I didnt get those 10 seconds.

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

Im interested in existential films: I love movies that console you in the same way that a person consoles a weeping child.

I think that what people abroad want from French film, inside French film becomes our worst fear, "Oh, another film about love!"

I'm sure you can even find ménage à trois in medieval tales.