Even moving around onstage seemed very artificial. But at the same time you have to make that effort in order to get back to who you are and even accept not moving, if that's who you are.

In France, you're with the crew, and you have lunch with them. It's more like a family.

I didn't want to change my personality onstage, but I still had to build some kind of ego to be able to go up there. If not, there's no point.

I think it's a legend that Lars von Trier is such a tough person to work with. I really didn't experience any of that. Of course, he's difficult in the sense that what he asks for is difficult. For my part in Antichrist, I suffered a bit. But it was the part - it wasn't him. He wasn't cruel. On the contrary, he was very kind. You know what you're up for when you read the pitch.

It's difficult for me to write in English as it's not my first language, but French is even worse because of my father's influence and because the comparisons that I - not even other people - would make.

You don't even need the director's judgement. It's too much.

Letting go of things and not being afraid of being ridiculous or over the top - I think that's the main thing for me to work on.