One job is to be an actor, the other job is to be a spectator.

If I seem detached or distant, it's because I think this is a more exact reproduction of life, where you hide as much as you show. When I see a scene in which feelings get loudly exteriorized, I say to myself, 'Well, at least this never happens to me.' I very rarely go through this type of expression. Most of the time things are hidden or at least much more subdued.

But it wasn't just a technical approach towards the piano, studying the music for this film was also a way of approaching the soul of the film, because the film is really about the soul of Schubert and the soul of Bach.

I did a film very quickly, and then a lot of work for television, and then I did stage work.

It was sometimes 60 degrees [Celsius], but it's very strange, cinema makes you forget reality most of the time. You are more concerned about your inner feelings, or your work.

In a very complex way, things have improved in the dramatic field. Before you had the good and the bad and you couldn't mingle them. Now it's more ambiguous.

We all pretend to be very strong, and then in a fraction, you can just break down, at least for me.