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.

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."

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.

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.

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.

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.

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