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.

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.

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.

The challenge, really, on any new film is to try to avoid that and achieve a few moments that aren't cliche.

If you are prepared to make a fool of yourself for them then you usually get that back. I think that there are points where you become so close to an actor, you know them so well, almost as well or better than their spouse. You have to know them, warts and all.

I was speaking to Ridley Scott the other day and he makes a film every 18 months. He's amazing really.

I don't know really. I've always been interested in the small picture instead of the big one, and I've always been interested in relationship pictures.

Their every instinct - and I have to say this is without exception - is to iron out the bumps, and It's always the bumps that are the most interesting stuff.

I wanted to make a movie about the arbitrary nature of love.

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.

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.

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.

Well, I think just the fact that you are making your first film is a huge step.

So on my screenplay, on the left-hand side of the page, I will put all the ideas that refer to the scene next to it so I have some sort of pictorial reference.

I think you get better at staring into space. Especially living in the South of France.

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.

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.

And rather than hide that, I would rather put that out on the radio and let someone see the full range of emotions. If you're going to be strong on the radio, you got to let it all out, even the ugly stuff. And you can't apologize for it.

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.

Maybe I spent more time dwelling on emotions than some people, and maybe that's why I ended up writing.

In the First World War, there was the sudden passion of nationalism, and the killing took place because of these emotions. But the Soviet case is different, because you had systematic murder, like the Holocaust.

So while it is true that I find really dark stuff funny sometimes, it's also true that as a writer of books I want to have the whole range of human emotions.

When on the set of a film, you have to play natural for entire scenes in a very unnatural environment. You have to express emotions and interact with other actors and also use your voice.

Emotions are the fuel to really move you along - that's the only way you can create music. If you don't feel any emotions, it's not going to happen.

Poetry is ordinary language raised to the Nth power. Poetry is boned with ideas, nerved and blooded with emotions, all held together by the delicate, tough skin of words.

Most of the animated films I watched, the emotions are all prepackaged like canned music, the hand actions, the sighs.

I think actors always retain one foot in the cradle. We're switched on to our youth, to our childhood. We have to be because we're in the business of transferring emotions to other people.

Most critical writing is drivel and half of it is dishonest. It is a short cut to oblivion, anyway. Thinking in terms of ideas destroys the power to think in terms of emotions and sensations.

The name of Jesus, like a secret charm, awakened similar emotions in the hearts of all the converts, and called immediately into action every feeling of moral loveliness, and every desire of dutiful obedience, which constitute Christian purity.

Postmodernists believe that truth is myth, and myth, truth. This equation has its roots in pop psychology. The same people also believe that emotions are a form of reality. There used to be another name for this state of mind. It used to be called psychosis.

Exploiting people's emotions of fear, envy and anxiety is not hope, it's not change, it's partisanship. We don't need partisanship. We don't need demagoguery, we need solutions.

My weaknesses are my jumps. The reason is that although I land them in practice, when I actually compete or perform, I should let my body go and stabilize my mind better. Also, I need to work on not letting negative thoughts and emotions get to me on the ice.

The fact that biological, or "natural" rules might help in the creation of a computer generated work of art is interesting, but even a wonderful work of art made in this fashion isn't the same as a person, with all his or her experiences and emotions involved, making art.

The concept of reason itself appears as an artificial attempt to separate intellectual powers from the frustrations, emotions, and accidents which cause events; the concept of reason is viewed as facade to prevent change.

A work of art is one through which the consciousness of the artist is able to give its emotions to anyone who is prepared to receive them. There is no such thing as bad art.

Romantic love is an illusion. Most of us discover this truth at the end of a love affair or else when the sweet emotions of love lead us into marriage and then turn down their flames.

When I say manage emotions, I only mean the really distressing, incapacitating emotions. Feeling emotions is what makes life rich. You need your passions.

A work of art is a world in itself reflecting senses and emotions of the artist's world.

I'm always collecting emotions for future reference.

Any poet, if he is to survive beyond his 25th year, must alter; he must seek new literary influences; he will have different emotions to express.

Well, if you're talking about the current climate, there's a lack of content in American film because I think people are deeply confused about their emotions, and they don't regret certain aspects of their own foreign policy.

What I mean is that today's films lay lot of emphasis on glamour and associated emotions.

I understand that it's hard for everyone, but one cannot give in to emotions... we'll have to draw lessons from the current crisis and now we'll have to work on overcoming it.

Man is lost and is wandering in a jungle where real values have no meaning. Real values can have meaning to man only when he steps on to the spiritual path, a path where negative emotions have no use.

Words are impotent to describe certain emotions.

The very essence of literature is the war between emotion and intellect, between life and death. When literature becomes too intellectual - when it begins to ignore the passions, the emotions - it becomes sterile, silly, and actually without substance.

Because I was able to submerge myself into the character, I didn't have to go back and forth. You don't have to work hard to bring emotions. It all just comes naturally, you're there living it.