I wear a lot of wigs as Jacques Mesrine. He'd wear multiple wigs and take them off one at a time to rob three banks in one hour.

There is this idea that its very different from the French point of view to work in America blah, blah, blah. But I think its different from one person to the other, not from one country to the other.

I always had the sense of being in the spotlight, being on stage, being looked at.

I have a huge relationship with Brazil; it's almost a love affair, I would say. And to me, to introduce that specific martial art like capoeira in Hollywood movies was something important to me.

I didn't want to be part of that tradition of French cinema that wasn't really watched by the people of my age. I didn't really care to be in the last André Téchiné or Claude Chabrol movie, even though some of them are really interesting. For me, it was much more important to work with Mathieu Kassovitz or Gaspar Noé. It was for me a question of identity.

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.

I have a tendency to think that that stereotype of American movies and Hollywood movies doesn't exist. Of course you have the studios that have a very hard policy upon their artists, but then I haven't really been doing any real Hollywood movie yet.