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.

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.

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.

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

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.