I love French style from the Thirties and Forties. French movie stars like Jean Gabin and Yves Montand had so much natural, effortless style.

Steven Soderbergh really likes Irréversible, that's about all I can tell you. About the making, well, it was a very particular situation, because those people all know each other, and they're all big stars. I felt like the little French guy, really. And I was very flattered to be called on that, of course, but I felt like if I didn't find something to be a little original, different, particular in the movie, I would just disappear.

I grew up watching 'Raging Bull.

I always had the sense of being in the spotlight, being on stage, being looked at.

I'm producing more, but I think to direct, one has to have a burning desire, and that's not me. I'd rather do something else.

The idea of telling a story in reverse destabilises your ordinary moral reactions. That's one of the points of art - to challenge your preconceptions.

I didn't want to be part of that tradition of French cinema that wasn't really watched by the people of my age. I didn't really care to be in the last André Téchiné or Claude Chabrol movie, even though some of them are really interesting. For me, it was much more important to work with Mathieu Kassovitz or Gaspar Noé. It was for me a question of identity.