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."

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.

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.

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

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.

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.

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."