When you see violence in movies in general, it's very quick and painless, which isn't what it's like.

I used to be more self-conscious about style because when you're younger, you want to exist, you want to show everything you do.

You can't escape from what you are.

When you have a bunch of scripts that you have to read, the less you have, the better it is, because otherwise, everything is already planned and I think that's a terrible feeling.

The thing is, as an actor, I get bored a little bit. I love to act. And between action and cuts, when you work for somebody great, it's wonderful and I still love it. The moment where you create, that instant is still magic to me. But, all the rest, I get bored with it - all the waiting, and the fact that you have to make appearances, that you have to share your life.

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.

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.