I've done many, many French movies and many, many English movies. I think it frees something when you don't talk in your mother language, but I also think you withdraw something as well. I'm a French actress, and sometimes I speak in English-speaking roles. For me, being an actress was always being a traveler. It goes together.
I'm curious and you know, I really think cinema is strong medium that allows you to go to so many different mental countries, not just geographical countries. As far as it allows me to express something of my own truth, it's fine for me. I can go to the moon.
The big problem in the world is when people are forced to be in a totally foreign context.
A script is a very rough material in a way. Whatever questions you might have regarding the script, you might find the beginning of the answers in the book.
Sometimes you don't really understand the characters you do. I don't need to. Most of the behavior is obscure and I don't mind that. On the contrary, it's a fuel for me, to find out who the character is. As the spectator is finding out, I find out about the character myself.
Sometimes over the years, you know, things come to surface.
You don't want to cry over yourself, you don't want to have compassion about yourself. It's not the right place.
I don't have time, because I still have so many films to see.
When I hear myself, I don't know how I sound.
I saw Chekhov a number of times in English, and I thought that it translates very well in English, for some reason, from the Russian to the English.
I always thought that's the exact metaphor, the perfect metaphor for acting. To go blind, to ignore the danger, and to totally trust.
Of course you have to create the conditions of a certain belief. And maybe ignoring something that you don't want to see, at least for the time of the shooting.
To be a great director, what does it mean exactly? It's not only about a great director, but also about being able to rely on the very special chemistry that goes between them. It not only has to be a great director, but the great director has to make his relationship to you, the actor, very special.
To me acting and doing movies is really strongly about the present time. It's all about when you do it. It's to create this feeling of extreme awareness and concentration. Because it doesn't happen without an extreme concentration, when you are completely immersed and focused on that.
What people think improvisation is and non-improvisation is, it's nothing to do with what you like or dislike. It's all about how it happens with certain directors and certain scenes. That's the way it works. It's not something, in general, that you can decide.
To be "here and now," in principle, is just for once. And then you have to repeat that.
By definition, acting is improvisation, even if you follow the lines. You invent what you do, when you do it.
One job is to be an actor, the other job is to be a spectator.
Balzac, you know, our great Balzac, he wrote interesting things about how in literature you keep distance in order to express great feelings. You have to keep a distance - and it's exactly the same with acting.
We all pretend to be very strong, and then in a fraction, you can just break down, at least for me.
When you're an actress you are in a very specific position, cerebrally, I would think you know. You are a thinking person but you are in a certain perception of the world between really being conceptual and completely stupid. So you are in between, with a lot of intuition and instinct. And that's not completely being intellectual because I think intuition is more blurred. It comes from intuition. Instinct. More than really reasoning.
Sometimes, an actress maybe knows how to think.
I know some real intellectual people who might laugh, very close friends who might laugh when I'm said to be an intellectual.
I don't think I'm that intellectual.
Am I an intellectual? I don't think so. Less than people sometimes think, I have to say. But more than some others think.
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