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.

Perhaps Europeans are a bit more skeptic whereas Americans are more believers.

Yes, he wanted me to do Funny Games before, which I didn't want to do because the film was very theoretical - the way people experience violence on screen. There was very little space for fiction, it was more like a sacrifice for the actors than anything else.

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.

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.

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.

Acting is a way of living out one's insanity.

Once you have made the decision to do the film, once you have identified the desire and all the deep and personal, intimate, artistic reasons why you want to do the film, then it's more a matter of how to do things.

For me, making films is like being on vacation, it's a nice walk. But theatre is like mountaineering. You never know whether you're going to fall off or make it to the top.

But theatre is always a difficult experience.

But on the whole, nothing requires unbearable energy for me, it's just a normal thing.

My mom's a Catholic, and my dad's a Jew, and they didn't want anything to do with anything.

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.

For a long time I have compared cinema to music, I think cinema has a lot to do with the rhythm of music.

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.

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.

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.

Going through this musical experience really helped us to understand the core of the film.

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!

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.

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.

I never wondered whether I should be a stage actress or a movie actress.

I don't know if you ever say to yourself that you want to be an actress. It eventually becomes a social function - you are an actress and you make a living out of it, but at the beginning it's more a matter of how to survive, or how to exist in a certain way.

I did a film very quickly, and then a lot of work for television, and then I did stage work.

I think being an actress is more how to cope with the fact that you can't do anything else than to express a talent. It's a way of being untalented for anything.

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.

We used to think that revolutions are the cause of change. Actually it is the other way around: change prepares the ground for revolution.

I must stress here the point that I appreciate clarity, order, meaning, structure, rationality: they are necessary to whatever provisional stability we have, and they can be the agents of gradual and successful change.

Excuses change nothing, but make everyone feel better.

So, first you have to be able to play with a metronome. Then you take your freedom. If you play in an orchestra, you got to watch the conductor, he is like a metronome, but it is more difficult because he can change rhythms.

I wouldn't change Buffy for anything and I wouldn't change the course in which she has evolved but it is nice to be able to do something that is a little different.

For example, UNICEF works with governments to change legislation such as in India where a law was passed raising the age of compulsory school completion to keep children in school and away from the workplace for longer.

Great joy, especially after a sudden change of circumstances, is apt to be silent, and dwells rather in the heart than on the tongue.

I still feel that a movie has to attempt to say something - even if it fails miserably. But I've sort of given up on believing that I'm going to change the world with every film I choose to act in.

Don't knock the weather; nine-tenths of the people couldn't start a conversation if it didn't change once in a while.

You don't have to be the Dalai Lama to tell people that life's about change.

I knew that my staying up would not change the election result if I were defeated, while if elected I had a hard day ahead of me. So I thought a night's rest was best in any event.

It will always be a battle a day between those who want maximum change and those who want to maintain the status quo.

Being a father, well, I don't know if this is a change, but it makes me want to get out of here faster. Get off the clock. Just 'cause the baby is my reason for living, my reason for coming to work.

A liberal knows that the only certainty in this life is change but believes that the change can be directed toward a constructive end.

I was born not knowing and have had only a little time to change that here and there.

In their search for quality, people seem to be looking for permanency in a time of change.

The game has kept faith with the public, maintaining its old admission price for nearly thirty years while other forms of entertainment have doubled and tripled in price. And it will probably never change.

One day I actually took the list into the bathroom and I put it up against my face and looked in the mirror and I realized I had one of two choices, change the list or change myself.

But the real focus should be on people who are buying today because the base is so big it will take a long time for any change materialize on an overall basis.

Markets change, tastes change, so the companies and the individuals who choose to compete in those markets must change.

The psychological basis of the metropolitan type of individuality consists in the intensification of nervous stimulation which results from the swift and uninterrupted change of outer and inner stimuli.

Headteachers and governing bodies run schools and that won't change.

Using the power of decision gives you the capacity to get past any excuse to change any and every part of your life in an instant.