My film is autobiographical, but I was more comfortable setting it in the past, so it became a universal fairy tale. I didn't want to get into issues like housing projects, unemployment or assimilation. [on 'The Chorus'] Our generation is not like the 1960s, obsessed with reading Cahiers du Cinéma. I'm very open to every type of cinema, but for me the best directors are the ones who allow you to share emotions. The Chorus is set in a school, so people say to me, "Oh you must be influenced by Zéro de conduite or The 400 Blows." And they are shocked when I say, "But no, truly, there are more important films about children for me, like Billy Elliot!" I've been very inspired by the English/American way of telling stories - for example Dead Poets Society and Brassed Off. I was very touched by the way they alternate comedy and more touching things. What I discovered is that directing is like being the captain of the boat. One of the most important things for the director is to cast well, not only the actors, but also the technicians. You don't really direct the kids, you just choose the right kids, because these kids didn't know about acting. You had to show them for who they are...really, themselves. Likewise for a DP or sound engineer, if you make the wrong choice, you are in an impossible situation. You have to be respected. And for that, you have to be loved by your crew. But you also have to be firm and not afraid to be hated when dealing with difficult people.