I liked the idea of working with Jean Reno and Mathieu Kassovitz; there was something logical for me. I thought it was a good thing to do. Actually, The Crimson Rivers movie was a big success, and it was one of the biggest successes I ever had in France.

It's now or never. This is simple to say, but then to live like that is not easy at all, I'm sorry. You have to be aware enough so that you can see situations as they pass in front of you and be able to catch the instant, whatever it is. Many times, you just don't see the moment when you were yawning and then it's too late.

I'm more attracted to the bad guys. Why? Because in real life, I don't know any good guys. I know okay guys. I know polite guys. I know people who can control themselves.

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

If the guy behind the camera is not good, the pictures are bad. It's still you, and it's the same lines and everything, but it doesn't work.

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.