There was very much a real feel that we probably pretty much discovered every major fossil field in Africa. And in fact, some scientists even wrote that down at the turn of the millennia. It wasn’t a great time to be proposing to explore and push new, because we hadn’t succeeded, theoretically, being given the chance. All the big discoveries were in old sites. ... I was still an extraordinary believer in that there was more out there to be discovered. I just wasn’t demonstrating.

Yes, because it seems to me that poetry cannot be hermetically closed to thinking. And thinking always enters the field of contradiction. So it also has to do with the way I try to reconcile poetry versus thinking. … I think you’re right that for many American poets, poetry is almost an escape from the cruelty of thinking, from the choices you make when you think. Escaping your life—which may be tragic, but it’s not problematic. So I see it differently, as a necessity to confront these categories.

Yes, I do. I do, but I were part company with certain schools of writers that I do not believe that it is necessarily the duty of the writer. I don’t believe that. If a writer is true to his vocation, to his or her vocation, the very process of creativity enlarges these human horizons. It provides insights, even when you’re not writing, when your writing’s not dealing with a concrete political situation.

Yes, we're showing that. But we're also showing a very important role for face-to-face or even written communication. So, the prediction was that nobody would self-monitor because that's a second level social dilemma, if you go to Game Theory. But, what we've found is that people will, but it can be … people can escalate into, 'I'll punish you, you punish him, mamamamamma,' and it gets worse and worse. So, with communication, where there's an agreement on what is going to be the … what we are going to do. The 'we' then being well-defined, then people can follow rules, be cooperative and, occasionally, sanction one another to help that continue.

No, I’m a very bad father, I abandon all my children. (Laughs.) Right now I’m in the present, and the future – what’s past is past.

No. You don't have to have rules. If you have rules—you know in cinema you have to be very pragmatic.

Not always. Actually I like to do movies but I’m quite bored with all the work around. All the promotion. Actually, when you’re successful, all this work around is quite difficult. But, I have to deal with that.

I didn’t think anything actually [before],” he nods. “And now I ask many questions. Because I don’t know what I will do in such a situation.

Yes and it’s also more difficult today to finance a film with a medium budget. It’s easier to make a very small film with a low budget like Le Refuge or a big comedy like Potiche with big stars. It’s more difficult when you try to make something in the middle, something more difficult in commercial terms because you don’t know exactly what the film is going to be like.

Truffaut, Rohmer, Claude Chabrol, they were the great directors of the Nouvelle Vague. They found the freedom to make exactly the films they wanted. Chabrol was important because he was able to make very strong portraits of women and very complex portraits of women. He was very clever and he had a lot of joy and pleasure. He didn’t have some big theories about his work, he just enjoyed making films. I try to work like that.