Louis Garrel quotes:

Some people choose their style at the age of 14, but I changed mine all the time.

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

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."

I'm not a singer, so I reproduce a little bit what I see on television and what I listen to on the radio. I don't have self-control, really, so I didn't want to sing like Mariah Carey.

As an actor I've played a lot of gloomy, romantic leads and even though I might not want to recognize it, I actually really have a sense of humor.

I tried to make a list of films where there's two men and one woman and I realized there's films like this everywhere.

I'm sure you can even find ménage à trois in medieval tales.

People always go to Paris for their honeymoon. It's like they think because the distances are closer, it's much warmer.

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.

There's something about Paris, people just don't have anything else do there but love each other.

I like being surrounded by students and intellectuals.

Im interested in existential films: I love movies that console you in the same way that a person consoles a weeping child.

I'm interested in existential films: I love movies that console you in the same way that a person consoles a weeping child.

To make a movie is very stressful, especially when you work with your father. You want to think the movie is good. Even when I don't work with my father, I want it to be good.

The separation of a childless couple is dramatic, but the separation of a couple with children is always tragic.

I hope each day to have done 10 seconds of good work that they can use in the film. And Im always afraid I didnt get those 10 seconds.

At the end of the day you do have to write a short novel beforehand, called a script, before you can make a movie.

Because I'm Parisian, I wanted to show a Paris that I don't see at the movies, so I spent a lot of time looking for places that have never been filmed, for streets that have never been filmed because there's a thing about Paris, where it's kind of like a charming music box, this luminous cocoon, like those things that have fake snow in them that you turn upside down.

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.

I think that what people abroad want from French film, inside French film becomes our worst fear, "Oh, another film about love!"

I think the moment I discovered I definitely wanted to act was when I saw a play alone by myself when I was fourteen. Maybe it was a Moliere play? I discovered the atmosphere of the theater, and I knew I wanted to be an actor.

I wanted to be a lawyer. I love that job; I dont know why.

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.