Olivier Assayas' statement for the film: "Our world is in constant change. It has always been. The issue is our ability to keep an eye on that flux, to understand what is truly at stake, and then adapt, or not. After all, that is what politics and opinion are about. The digitization of our world and its reduction to algorithms is the modern vector of a change that unrelentingly confuses and overwhelms us. Digital economy infringes rules, and often laws. Moreover it questions whatever seemed most stable and solid in society and the reality around us, only to dissolve on mere contact. Doubles vies is not about analyzing the workings of the new economy. Its more modest intent is to observe how those questions beleaguer us, personally, emotionally, and sometimes humorously."
Olivier Assayas who is a great admirer of Éric Rohmer was inspired by Rohmer's The Tree, the Mayor and the Mediatheque (1993), a comedy that dealt with some of the debates going on within French society at the time, while writing Double Vies.
A running joke throughout the film is Léonard (Vincent Macaigne) altering the story of a sexual liaison with Selena (Juliette Binoche) in a movie theater to take place during Michael Haneke's The White Ribbon (2009) rather than Star Wars: Episode VII - The Force Awakens (2015) because it sounded more chic. Binoche has collaborated several times before with Haneke.
For Olivier Assayas, Double Vies is very French in the sense that in France you can still get away with making these kinds of films.
Side staging, Olivier Assayas wanted to proceed in the same way as on his previous films, that is to say do not do rehearsals to privilege the improvisation of actors. The issue of staging has never been formal.
When Olivier Assayas began writing the screenplay for Doubles Lives in the mid-2000s, he was not yet aware that he would make a feature film. For a long time, the director had been working on the story of a publisher confronted with the transformation of the world and its ability to adapt to it.
In Doubles Lives, he is often referred to Woody Allen's film, mainly because the film seems to advance through dialogue.
For his new project, Olivier Assayas finds Juliette Binoche, whom he directed in L'Heure d'été (2007) and Sils Maria (2014).
When Léonard Spiegel (Vincent Macaigne) ask his publisher Alain Danielson (Guillaume Canet) about the idea of an audio book of his new book "Full Stop" (Point Final), Alain says he already asked Juliette Binoche to do it but there is no answer. Then Léonard want to write a note to Juliette Binoche to do so, and asking Selena (Juliette Binoche) if she has her email. So in this movie, Juliette Binoche is acting like she (the real one) is the 3rd person.
From one film to another, Olivier Assayas has the habit of calling on the same collaborators, whether for the image (Yorick Le Saux), the sets (François-Renaud Labarthe), the sound (Nicolas Cantin), costumes (Jürgen Döring) and executive production (Sylvie Barthet).