OSS 117 and maybe Un Balcon Sur La Mer directed by Nicole Garcia. It's a typical French movie with typical French themes with French actors, a French director.
I'm really open to anything that's good. If I read something and it's good, and I like the director, it never really needs to be a specific type of character.
Once you get the script, you then hope you can get the director that you want. Then you hope he can get the cast he wants. Again, you can go quickly or there can be a million stumbling blocks. There's just no way to know.
As an actor I can sort of smell a duff note, that isn't full of that much conviction. My worst thing with directors is when I know more than them about the character.
I'm not one of these directors, so far, that wants to have a whole separate director's cut of these things. So far they've turned out to be kind of the length that they wanted to be.
The greatest directors are the greatest users. They use people's talents to tell the story that they want to tell.
I always say that I'm not the director, I'm part of the team.
Every time I act in something, I learn something about what the director is doing. One feeds the other.
That's the trouble with directors. Always biting the hand that lays the golden egg.
It's great working with directors and with somebody else's vision.
The only way I know as a director is to figure out what the film is about. And out of the theme and the sense of what the film is about, all those decisions start to make sense. But to find that truth within it, you have to limit your possibilities and limit your choices. That's where this visual language grows out of.
There's good directors and bad directors. Some of the critics are really conscientious and really try to do what they can popularize the work or to explain the work and so on. And then there's the critics who just wants to make a reputation by attacking. Those are the ones I'm not keen on.
I can't stand directors who try to micro-manage everything. When it happens these days I just walk off set, saying if they don't like the way I'm doing it they can get someone else.
I'm not the kind of director who aims to send a message out.
As an actor, I'm attracted to drama; as a director, it's humor - because it's the story of my life, and I can't be that serious about it. Being alone is a big theme in all my movies, both as a director and as an actress.
In some cases, the casting directors have casted blindly and have not looked into my ethnic background
Sometimes people come in as a director, and they just want the result, and they barely want that to tell you the truth. Sometimes directors barely talk to the actors; they are so focused on the cinematic elements of the movie, getting the shot and getting the lighting right or getting the CGI effects right and all of that, and they just trust that you are just going to do what you do.
I am not a master-class director. I am not a teacher. I am a coach. I dont have a methodology. Each actor is different. And on the film set, you have to be next to them all.
There are lots of good directors I would like to work with; I want to be inspired and challenged by them.
For some directors, I'm the actor from hell.