It was like a dream to me to suddenly get into the market with that kind of movie, like La Haine. It actually created my identity as an actor, that thing.

If the guy behind the camera is not good, the pictures are bad. It's still you, and it's the same lines and everything, but it doesn't work.

To work with somebody you love makes filming faster, more fun.

I really like romantic comedies and light movies and everything but I think - I don't know where it comes from - but when you're doing violent movies, you're closer to reality.

Working with David Cronenberg or Darren Aronofsky or even Steven Soderbergh isn't really like a typical Hollywood movie. These are true artists, and have a certain amount of freedom when they work, and they're more like independent filmmakers making their way through big studios. I still don't feel like I've been part of the stereotypical Hollywood system.

I liked the idea of working with Jean Reno and Mathieu Kassovitz; there was something logical for me. I thought it was a good thing to do. Actually, The Crimson Rivers movie was a big success, and it was one of the biggest successes I ever had in France.

Coming from Paris, I'd really like to live in Rio. I think it's gotten better. It's not as violent. The economy is better. The middle class is rising.