Well, then he said, “Now you just have to read Camille’s letters and be inspired by her so much that you’ll speak like her.” I said, "Are you kidding? I don’t speak like her, I don’t think that way -- it’s a century ago, it’s a different world.” So he gave me the monologue with the doctor, the monologue with the brother. I was so happy! But he also said “I want you to improvise!” So I said, “Okay, you mean use my words” and he said yes.
So I worked on the computer and rewrote her lines and tried to find a way of how I would say things, and I sent it to him and he said “No! You forgot that expression, that thing there that she said…” So I said, “Oh, I understand now what you want -- you want exactly her words, but all improvised!” And he said, “Yes, that’s exactly it.”
What I understood by his use of the word "improvisation" was just "truth." So the choice of having no make up at all was already having nothing between me and the camera, so in a way this acceptance of being "bare" was my "safe hands" -- what was revealed had to be taken, there were no defenses for me. Camille too was probably so vulnerable in this environment that it was a good start for this role.
How was it to work with non-actors in this film?
I’ve worked with non-actors before, but this was specific, they had handicaps, they were patients. And we didn’t know whether they were able to do a second take, and as an actor you always wish for a second take in order to explore differently…[But] I think in the human being, no matter what, playing -- the "game" thing -- is in all of us, because it’s a way of learning about life. Like children playing a game over and over, and reliving it, it’s a way of printing it inside of you.
Absolutely, and they were able to repeat it. And that was the fascination of working with patients -- playing within a human structure.
One of the other times you worked with first-time actors was on a favourite film of ours, “Certified Copy” for Abbas Kiarostami. He spoke of wanting to work with you again -- will that happen?
Oh, I love to work with Abbas, I love him. I love his movies and it’s so freeing to work with him, he’s just allowing life. And he likes details -- small things. He’s been starting to write a script with Jean-Claude Carriere [who wrote the screenplay for Binoche’s international breakout “The Unbearable Lightness of Being” among many other credits] but… we’ve been missing each other. We’ll see how things how things go.
But you definitely are reuniting with Olivier Assays for “Sils Maria” a film he descirbed as “A Juliette Binoche movie about Juliette Binoche with Juliette Binoche”?
About Juliette Binoche? Well, we’ll see about that.! Because he probably thinks it’s about Juliette Binoche but he doesn’t know me that well, so we’ll talk about that!
Yes, each time it’s different. With Haneke for example, “Code Unknown” and “Cache” were very different experiences. The first time, with “Code Unknown” it felt like he could scan me and…see inside of me. It was almost scary, I was like “Wow, this man is a clairvoyant!" because he could really trigger what was happening [to me]. But “Cache,” maybe it’s because of the title and the subject, at the beginning I felt he was totally oblivious to what I was doing, not understanding what I was going through. I think his focus was more on the male character. And when I was like “Hey, hey, what about me?” all of sudden he started picking up on everything I did and I was “Go back to the man! I don’t need you” It was funny. But I felt I had a different experience, I have to say. Who else do you mean?
Well, Leos Carax?
Carax was a long time ago but they were very different experiences. You know, “Mauvais Sang” was the beginning of our work together and our relationship as well, and there was a lot of admiration and a lot of fascination but it was not yet a real relationship, and after that we were together. And "Lovers [on the Bridge]" was so hard to make because of money issues and the journey of that film was such an experience of trust and resistence and muscles and belief… you really had to believe.
Anthony Minghella with “The English Patient” and “Breaking and Entering” -- was also very different. He had become this huge director, recognised all over, he had another stature, whereas on 'English Patient’ it was just an English director doing his first big film. When we make films usually there’s a lot of feelings between directors and actors, because you work with your heart and in the presence of each other. There was a lot of love but at the same time [the second time] I felt like I had lost him in some way. I mean, you don’t possess anyone, but it was not the same relationship we had…
And now you’re signed onto “Words and Pictures” for Fred Schepisi with Clive Owen?
It’s funny because that film, I read it and I kind of liked it, but I wasn’t sure, so I said no to it. Then they went with another actress and it didn’t work out, something happened and they came back again, and it feels like… it happens in life that something comes back to you and you don’t understand it until suddenly it’s “OK, I understand. Now I’m gonna do it.” They [had] reworked some of the script but I think mostly it’s me changing. Sometimes when things come back, you’ve got to think a little more…
In it you’ll play a painter. Will they be using your own paintings as has happened before [in “The Lovers on the Bridge” for example]?
Yes, well it seems that it’s going to be my paintings. [Panicked look] I’m going to have to get to work on them...