"At the end of my studies, I was asked to write a feature film. But what I had in mind lasted no more than 40 minutes. I started writing and the story transformed itself, with some events disappearing and giving way to longer scenes with more dialogue. In fact, scenes were suppressed to the benefit of the characters, their feelings and the bonds between them. I didn't think I would end up with a short film screenplay or even less direct it . But once I had completed the screenplay, I couldn't see myself either asking someone else if they'd like to direct it, nor leaving it as it was. That's how I came to make "Dis-moi oui, dis-moi non". Then, I wrote "Forget me". I didn't want there to be any difference in method between the short film and the feature. I thought that would be dangerous. Of course, the work takes longer but I felt I had to be as free as on the short film, in the choice of actors and everything... The day before we started shooting "Dis-moi oui...", I was terrified. The only thing that managed to calm me down was the thought that if what I was doing was too bad, I could always not show it. With a feature, you can't tell yourself that, it's harder to hide. There's more money involved and, above all, the film is destined for a theatrical release... I think that the danger with the system is, at times, the desire to see films exist before shooting even begings. I try to resist this pressure and to concentrate hard on the real stakes involved : what the film is trying to say, the actors, each scene and each shot."

(Noémie Lvovsky)