The choosing of a role is so difficult for me. That's the real challenge: to choose the role, not to do the role. Once you've chosen them, the process is much easier.

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.

The choosing of a role is so difficult for me. That's the real challenge: to choose the role, not to do the role. Once you've chosen them, the process is much easier.

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.

For a long time I have compared cinema to music, I think cinema has a lot to do with the rhythm of music.

Firstly I did it in this huge theatre in Avignon, then to smaller places, then bigger places. You have to change the volume of the voice, give more or less. The way you have to relate to space makes it like sculpture.

There are many different ways of being funny. I'm not sure that there's so many different ways of being dramatic.