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And when you don’t have that, you don’t know what to do! I had promised to make a film with Romy, I agreed with Montand to make a film, but, I was held up by… dreadful social contracts in which, as victim of personal relationships, you are held by promises you must keep! The energy you put into having strong ties with them, you pay for it afterwards. When I made “Garçon”, I told myself that by always focusing on characters of my generation, I ended up “sticking” to that generation. And I said to myself: “I can’t go on like that.” I find that in the mimicry between me, the comedians and the characters I invented, I don’t see a way out any more! And I said to myself: “Wait! If they tell me I’m Montand, “that I’m Piccoli, I’m no longer who I am, in that mix-up!” Claude Sautet had a desire for renewal in his own way. With Garçon, he thought he went to the end of something that defined his success… His public, sociological success, since that’s always a keyword for Sautet. And one senses perhaps a bit of fatigue… he himself felt that. Well, he’s been… he hasn’t even been filming for or years… he kicked the can around certain subjects. And then there was this novel by Jean-François Josselin, a short novel, of which, in fact, they kept… the title, plus the main subject, that’s to say: “Would you like to spend a few days with me?” as the protagonist says to the young woman. Philippe Carcassonne, the producer, helped me a lot. He really wanted, besides the script… “I’d like you to change the whole team.” I had the impression that suddenly, I could fly! He was a man of that time and… he was used to… being surrounded by actors and technicians of his generation. So, the characters were of his generation. He started out with Piccoli, Montand, Ventura… Ventura was older than him, but still, people of his generation. Moreover, he realized that… He was very lucid on that fact, that in order to make his kind of film, he needed at least some money, or even a bit more!