When she saw La mort du jeune aviateur anglais, she told me that the film was about me, not her. She treated me like a thief. So I offered to make another film, where she could say whatever she wanted about her life as a writer. That’s how we did Écrire. I brought the same film crew. We went to her house at Neauphle-le-Château and we set up in the room she called “the music room,” where there was a piano and you could listen to records. She settled in and for two days of non-stop filming, she talked.