"I got out like this, and off I went running." "And this is where it happened." " Do you recognize it?" " Yes, it's the same." "We put the camera here." "And we had a small remote to control the aperture." "The focus was simple." "We set it at 4 or 5 meters for the maximum depth." "There were three of us in the car." "We were strapped in like lunatics." "It was the same color." "It was my personal car." "It's not outdated." "It will still hug a curve." "Yes, you'll see." "Okay, we went really fast here... to start off." "The car is not as solid as before." " I noticed it doesn't have..." " What?" "The brakes aren't there." "I drove past here." "There's no brakes." "I accelerated here." "I hit it hard here." "We'd hit 200 here normally, but not today." " We won't make it today." " No, it's okay." "Okay, we've had our fun." " Don't do it." " But that's how it was." "You know we've seen the film several times." " We should still force it a bit." " It's not necessary." "I saw you holding on there." "The fact that it was shot very early is also part of your personality." "Lelouch really gets up every day at 5 a.m." "You get the feeling that the world belongs to you." "Look how Paris belongs to us." "We decided the night before to do the film." " It wasn't premeditated?" " Not at all." "I said to my cinematographer and my key grip..." "Come tomorrow morning and let's do it!" "Jacques Lefrançois and Henri Cayrol were in the car with me." "And we could only do one take." "Either it would work or it wouldn't." "We'd have the cinema gods with us or we wouldn't." "And of course, I was prepared for extreme danger... but I wouldn't choose between someone's life and a film." "A film is just a film." "But I never felt I was taking any risks." "And here we were going about 160 here." "I knew the car was at its limit." "We need to clear up the mystery surrounding this film." "Like who was driving the car?" "There was talk of Jacky Ickx, Jean-Pierre Beltoise..." "Jean Ragnotti, Jacques Laffite..." " No, it was you." " It was me." "Why didn't you get a professional driver?" "You were taking a big risk." "Well first of all, it was decided at the very last moment." "And besides, I really wanted to do it myself." "The main and only interest in the film was to drive the car." " For enjoyment?" " Absolutely." "Here I took a precaution." "The only spot I lacked visibility was at the Louvre." "I had visibility everywhere else." "If I had a problem, I would crash alone." "But here I couldn't see what was coming." "So my assistant, Elie Chouraqui..." "I had him there with a radio." "I said if there's a problem that I can't go through, warn me!" "He didn't warn me." "Later he said the radio was broken." "So why a Mercedes instead of a sports car that might be better for this kind of thing?" "Because of its hydro-pneumatic suspension." "It was absolutely necessary that the image be fluid." "Here you made a maneuver." "The light was red with cars in the way." "So I had to do like this." " With a bus coming." " Don't worry, I'm watching out." "So I did this." "I couldn't stop because the idea of this film was not to stop." "How did you do the sound?" "I redid the course with a Ferrari to change the sound because I wanted people to feel the speed and power of the engine." "Wasn't the film originally called Red Light?" "No, not at all." "There's only myths about this film." "It was always called Pour un Rendez-vous." "The film tells a story." "If there isn't... this man getting out of the car and meeting that woman, the film has no meaning." "It's gratuitous." "What's great about cinema is that we can tell a story." "A man going to meet a girl can take unnecessary risks because he doesn't want to make her wait." " And you're never late?" " It's an obsession." "Not only I'm never late, I'm always early." "So here..." "I should have gone up Rue Lepic." "But there was a truck there." " He was unloading something." " You saw that right away." "Well, I did this." "I saw he was there, and so I did this." " Look, he's still there." " Yes, it's crazy!" "I was wondering if I'd have enough film because of the detour." "30 years later and it happened again." "We didn't arrange that." "And I had the same light." "That's what's crazy." "Here I went very fast because I had to make up for lost ground." "You must have been worried because you changed your planned route." "I was very afraid that I'd run out of film." "I went up this way." "I took a one-way street there." "We'll do that again." "I was already very happy, but I was praying... that a car wouldn't block me in or the film would have ended here." "Because there was no other possibility." " We're lucky." " Yes, we are." "This was a one-way street, and it still is." "I sped up here." "And I didn't honk here." "Because it would have signalled my wife who was waiting." "We rushed up here." "Then we took this turn." "The daylight was the same." "Exactly the same!" "It's incredible!" "We came up here." "I had just enough time to do like this." "I did this." "I honked the horn here." "The light was the same." "I got out like this, and off I went running." "And this is where it happened." "Gianni777  JM2L"