It was very bold of Nana to choose me for the role of Cecilia instead of a more experienced actress. I could scarcely believe it was true until we actually started shooting. Then I was thrust abruptly into a different world and had to adapt to a tempo which was completely different to what I am used to as a journalist. That was very hard for me. I also had to accept, tacitly, that Nana was exploiting my true nature for the film. I had to be as I really am if I wanted to contribute efficiently to the film and become a true partner for Pierre Richard, giving him the best of myself.

First of all, I was drawn to the quality of the writing in the script, its dreamlike dimension, its magic. Pascal is someone who dreams all the time, who is driven on by a robust love of life. As for Cecilia, she is more fragile, less unpredictable. Their love has an airy feel, it's like a woman's dream. When they both lose that lust for life and see their passion frustrated, the only choice they have is to disappear. It's logical that the executioner of their love should be Zigmund, a great brute who kills everything that's light, joyous and poetic. And it's maybe lucky for Cecilia to die in that way.