"And I think this point of view reflects also what I say in the film, more deeply, and the way I see the cinema—cinema has to be connected to real life, and I wanted to make a film about cinema not as something to escape life, not as something l'amour, but cinema is being a part of life. I wanted to make a film where there was a constant dialog between film and life."
(Daniel Kasman) To drive in at a small detail, I'm curious about that old, small chapel that you filmed in the countryside, how you found it and how it worked its way into the film.
"Actually, the teenage actress [Alice de Lencquesaing] was in my first film. She was kind of the inspiration behind this, and she has two sisters who were also inspirations for this film. She knew of this place, and really introduced this place to me, which was how I discovered the chapel. It was an instance where the decor inspired the scene rather than the scene dictating a decor I had to find. It's not to give this scene too much importance—it's really an anecdotal kind of scene—but what's really important is the little child with the ladder, where she tries to climb the ladder but is told not to, and later on the ladder is not there any more, it's been moved, and you see the ladder leading up, out of the open roof of the chapel. In my film I think that often the most important element of a scene is not the thing you think is the most obvious, sometimes a detail can be the real reason, the heart of a scene. The heart of this particular scene is that ladder."
- Mia Hansen-Løve
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