A certain type of critic doesn't really want French movies to be visual. They think movies started from books and they forgot this part of moviemaking, like Chaplin and Buster Keaton, which I didn't forget.

I really like to discover a new culture, a new country, a new rhythm of living. I really, really like that. I think that's the most enriching thing, for my nature, because I like the psychology of people.

I think that if you do an American movie it's important to earn some money, but in a stupid way, to be respected.

I don't want to think my life as a career.

Usually, I read the script very often. I think that everything is hiding in the script.

I don't really know Hollywood, and I think that L.A. needs a bit of time to really know the city, because it's such a huge city.

I think when you're an adult you start to like the very things that make you different. If you obsess about some defect, you make it obvious to everyone, and suddenly everyone is staring at just that defect. It's always like that. The more you hide something, the more it shows. But when you accept your defect, suddenly no one on earth sees it anymore.

I like to think in camera, but at the last minute the most important thing is that there is something happening between the actors. But good actors can have a lot of scenes going around them but sometimes it sort of helps the performance because it takes their mind off of who they are supposed to be.

I think that when you create something or at least try to create something, you slither between excitement and pleasure and you understand this huge emotional frustration. You did one feat, then you go back one.