Isabelle Huppert
Isabelle Huppert
Isabelle Anne Madeleine Huppertis a French actress who has appeared in more than 100 film and television productions since her debut in 1971. She won the BAFTA Award for Most Promising Newcomer for The Lacemakerand the César Award for Best Actress for La Ceremonie. She is the most nominated actress for the César Award, with 15 nominations. She was made a Chevalier of the Legion of Honour in 1999 and was promoted to Officer in 2009...
NationalityFrench
ProfessionMovie Actress
Date of Birth16 March 1953
CityParis, France
CountryFrance
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
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
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
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
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
Perhaps Europeans are a bit more skeptic whereas Americans are more believers.
But theatre is always a difficult experience
I did a film very quickly, and then a lot of work for television, and then I did stage work.
Some roles are easier to choose, some roles are more difficult because they are more daring. Sometimes you have to dare.
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
My mom's a Catholic, and my dad's a Jew, and they didn't want anything to do with anything.
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
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