A Quote by Emmanuelle Beart
I've just done a film in the United States. It's a thriller called 'A Crime', with Harvey Keitel, we play against each other, and it's so great to play in another language. But I'm definitely not American.
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In the Islamic world, the U.S. is seen in two quite different ways. One view recognizes what an extraordinary country the U.S. is.The other view is of the official United States, the United States of armies and interventions. The United States that in 1953 overthrew the nationalist government of Mossadegh in Iran and brought back the shah. The United States that has been involved first in the Gulf War and then in the tremendously damaging sanctions against Iraqi civilians. The United States that is the supporter of Israel against the Palestinians.
The Strokes can play anything. They could play 'Thriller,' and it would just sound like 'Thriller' as played by the Strokes.
The United States is an illegitimate country, just like Israel. It has no right to exist. That country belongs to the Red man, the American Indian... It's actually a shame to be a so-called American, because everybody living there is a usurper, an invader taking part in this crime, which is to rob the land, rob the country and kill all the American Indians.
I always found it a great challenge playing against Michael Jordan, to play against Magic Johnson, to play against Larry Bird, to play against all those good players because it's something that you can take away from it.
There's a rule in acting called, 'Don't play the result.' If you have a character who's going to end up in a certain place, don't play that until you get there. Play each scene and each beat as it comes. And that's what you do in life: You don't play the result.
It was really interesting to be editing the film [Trust] in New York and directing the play in Chicago, and one definitely informed the other. The play probably benefitted more because I realized what scenes could be cut, and I cut those scenes from the play.
I called Scott Rudin, and I told him I wanted to do the play [Fences], so that's how the ball got rolling. I never said, "I'll do the play, and the next year I'll do the film, I just wanted to do the play."
With 'The Humans,' I've found that because it's related to very familiar forms - the family play and the thriller, almost a genre-collison play - some people want it to be one or the other. Either less dark and more of a family comedy or a full-fledged thriller with blood and ghosts jumping out of closets. Everyone's taste is different.
I would love to play the President of the United States. I have been told we resemble each other, and it would be a challenge I would be up for. Obama is from the south side of Chitown, and so am I... I'm just saying, but be on the lookout.
I was doing a play in New York, which we had done in New Haven, Connecticut. It was an American premiere of a play called The Changing Room written by a wonderful man named David Story. It was about a rugby team in the North of England. It got just screaming rave reviews. At that time, virtually every major critic went up to the Long Wharf Theater to see a new play like that.
It's just something about great players when they play in certain arenas or against other great players. They elevate their play. LeBron is one of those guys. He feels the moment. He understands the moment.
I think we're really good about pushing each other in practice and we have high tempo and I feel like we have some of the best players in the world so just competing against one another and getting in there and pushing each other around and getting ready for that physical style of game coming up, we have to play hard and pretend it's a game.
I don't think about competition. I am definitely attracted to not just playing a regular character - I don't know there's any such thing as "regular. In American Crime, I get to play a runaway who's living with her pimp in North Carolina and she's a prostitute, but she's a victim of human trafficking because she's under 18. I like those roles. That's what I wanted; I wanted to play someone that was a challenge.
I watched a lot of Jerry Rice's film just to learn how to run routes, but it was so difficult to imitate him, and he didn't play with the same body language that I wanted to play with.
In 'Stree,' I play a character who believes that he knows everything. And I play a cop in 'Drive.' It is a different kind of a role. It is not a uniform-wearing character. The film is interesting, since it is a thriller.
If I would want to have a huge audience, I would make American movies, not French movies, because there is a limit of course with French language. If I prefer to shoot in my own language, it is to play with my language, to play in my Paris, and I have complete freedom in France. It's so amazing. If American directors could imagine how free I am, they would have asked for political asylum immediately.
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