I think American audiences like gangster movies. You know, it's part of the culture.
When eventually I started to act a bit more, I realised that circus school had taught me something that a lot of actors my age didn't have: physicality. They didn't know how to move. Acting is not all about talking. There is something animalistic about it.
I trained as a dancer when I was much younger, for a large amount of time, like 6 or 7 years. Not to be a ballet dancer, actually, but I thought it was a complement for an actor. I thought that actors should know how to move, should know how to juggle, should know how to do acrobatics.
And now I have a big house, nice clothes and I travel in first class and I love it, so maybe it's time to enjoy being a star.
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.
Cronenberg's a lot of fun, and that a lot of people don't know watching his movies. He doesn't take himself seriously. He's still reinventing himself.
Since I was a child, I have had this feeling that the most important work I'd do would be with my family.
People look up to Jacques Mesrine as if he were a Robin Hood, stealing from the rich, but he never gave anything back to anybody.
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.
The day after I had my licence to drive, I made Paris/Nice at 230 km/hour.
As a younger actor, I had delusions. I would dream of Scorsese and De Niro; I would meet people, and it would be like this, and it would change moviemaking in France, and Paris would become the center of the world.
I always compare human beings to animals. It's a nice way to figure out who they are.
When you see violence in movies in general, it's very quick and painless, which isn't what it's like.
I'm really proud of 'Oceans 12.' Of course, you do an 'Oceans' movie, you get known all over the world. It's an incredibly powerful medium: It's a Hollywood-identified blockbuster.
The idea of telling a story in reverse destabilises your ordinary moral reactions. That's one of the points of art - to challenge your preconceptions.
Soderbergh is a very respectable director that manages to have an incredible amount of freedom in a system that doesn't allow anybody to be free as he is on a set. And he will jump from 'Solaris' to 'Ocean's Twelve' and 'Thirteen.'
