Mounsieur Honoré e não é Balzac

You said in a previous interview that French cinema has lost its sense of adolescence. What did you mean?
Christophe Honoré: I get irritated by the lesson-giving aspect of some French cinema, where you feel like it wants to teach the audience something—usually clichés and platitudes. What I like best about the Nouvelle Vague films are their roughness, their teenage arrogance. They’d go from one thing to another without getting bothered by too much formality. I like that sense of something being unfinished, of films that search for themselves as they go along.

But your own movies are formally sophisticated, with that fixed traveling shot on Ludivine Sagnier in Love Songs, for instance.
Honoré: It’s a reference to Cocteau’s Orphée as well as Umbrellas of Cherbourg, a traveling of people coming back from the land of the dead—or going there, as in Love Songs. I admire directors who make internally consistent films. A Bresson movie impresses me, and at the same time I’m completely unable to work that way. If I stage a sequence I’m pleased with, the next day I’ll take a completely different approach.

http://www.timeout.com/film/newyork/features/show-feature/4454/outtakes-with-christopher-honor-and-louis-garrel.html

Mais complexo do que parece.