I've always been interested in films where you can identify with the actors. Where you can be in their shoes and therefore be more involved if they're people that you recognize.
I feel a little schizophrenic because my life is so totally different from here, obviously. And the French values are so different from American values.
I wanted to make a movie about the arbitrary nature of love.
Foxes was a movie that didn't do a lot of business but it didn't do too badly critically and eventually they offered me other things. The interesting thing was that next I tried a film called Star Man, which Michael Douglas was producing.
Every time I do one I feel like I've never really quite learned anything. I always find that when I'm making a film, I find it a little bit like I'm doing it for the first time.
And I think you understand a little bit more why she falls for him. In a way, watching the French do anything is a little more fun because their gestures are different. And in that way, they make everything interesting.
I was watching Monster's Ball, which is a fabulous movie. It's just a little gem: beautifully shot, and shot in a way I never would have done. It made me feel very old, really, because it wasn't eccentric for its own sake, it was just very original.
What I think is interesting is that the more you do, you have to invent a book of rules of what you can do and what you can't do. And the very real danger is that if your book of rules becomes a book of cliches.
The danger is that if you have a bunch of ideas that you forget to use.
The challenge, really, on any new film is to try to avoid that and achieve a few moments that aren't cliche.
Obviously, in dealing with a relationship, sexuality has to be involved, and jealousy and emotions like that. And I don't know, I've always been intrigued by those emotions.