When my father made 'Jean de Florette' and 'Manon des Sources' back to back, everybody said, 'Why two movies?' But you need two movies to show how criminality evolves, and to tell the story: You can't show a man in love with so many women in one big biopic.

It doesn't matter if it's black-and-white. If a movie has a story that is filled with emotion, you can have as much pleasure, and it's very good for cinema.

Not many French producers work the American way. In France, the director decides everything, he has final cut. I'm trying to do things differently, without the Luc Besson solution.

I was raised in a family where cinema was a way of life. It was not only about making films, it was relationship, passion, love, everything at the same time.

Cinema is gambling. It is better to gamble on a unique film even if it seems like suicide.

I reread Mesrine's book every year because the way the story is told is fascinating. Today, we don't have gangsters like Mesrine - he had humor.

When my father made 'Jean de Florette' and 'Manon des Sources' back to back, everybody said, 'Why two movies?' But you need two movies to show how criminality evolves, and to tell the story: You can't show a man in love with so many women in one big biopic.