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.
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.
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.
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.
But theatre is always a difficult experience.
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.
But on the whole, nothing requires unbearable energy for me, it's just a normal thing.
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.