When my father made 'Jean de Florette' and 'Manon des Sources' back to back, everybody said, 'Why two movies?' But you need two movies to show how criminality evolves, and to tell the story: You can't show a man in love with so many women in one big biopic.
Not many French producers work the American way. In France, the director decides everything, he has final cut. I'm trying to do things differently, without the Luc Besson solution.
