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.
Perhaps Europeans are a bit more skeptic whereas Americans are more believers.
For an actress there is no greater gift than having a camera in front of you, listening to the most beautiful music in the world and just being looked at!
I never wondered whether I should be a stage actress or a movie actress.
Acting is a way of living out one's insanity.
My mom's a Catholic, and my dad's a Jew, and they didn't want anything to do with anything.
I like to take these unusual characters and then make them as normal as possible, because we all know that the tragedy and the abnormal always hides itself behind the normal.
The Greeks already understood that there was more interest in portraying an unusual character than a usual character - that is the purpose of films and theatre.
Before I do a play I say that I hope it's going to be for as short a time as possible but, once you do it, it is a paradoxical pleasure. One evening out of two there are five minutes of a miracle and for those five minutes you want to do it again and again. It's like a drug.
Even for the most difficult scenes, and there are difficult scenes in the film, and because Michael Haneke is such a great film-maker - I think a great film-maker is not only being inspired, but how to do it, how to make it as real as possible, knowing that it's not real.
It really helps you to go through difficult situations by just thinking about it as being a big amount of work which you have to solve how to do. For example, I don't feel very inspired when I act, I just act. That's it.
But on the whole, nothing requires unbearable energy for me, it's just a normal thing.
But theatre is always a difficult experience.
For a long time I have compared cinema to music, I think cinema has a lot to do with the rhythm of music.
Going through this musical experience really helped us to understand the core of the film.
I did a film very quickly, and then a lot of work for television, and then I did stage work.
When you come to do the film, it is not the time to wonder why you do it. It's just how to do it.
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.
But someone like Claude Chabrol tries to make a connection between the society in which we live and the social reasons which make monsters out of some people.
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.