Music was the only voice of cinema for a very long time before we had sound; it's organically linked to cinema itself.

I'm very much a hypochondriac, worried about dying, and not having enough time to work with the people I want to work with and being fulfilled as an actor.

I feel like Adele is a diva. Not in the bad way. She is one of the greatest voices of this industry and of her own art. What she offers is so unique that she's risen to such a status that very few artists can enjoy.

What I'm interested in is how your career choices can affect your private life, romantically or with your mom, your relatives, your friends, your hometown, and how media manipulates information - not newspapers or blogs, but the magazines that people impulse-buy that tell you what's hot and who's not.

Here's the thing with the costumes for 'Mommy': Given the background and social strata that the characters come from, you can't really imagine that they've gone shopping lately, so we went for that very normcore, fashionless era in history, the early 2000s, which was completely transitional.

Film-making is not liberating. It drains a lot out of you, and it's fulfilling only temporarily. It's a very thankless thing at times. When you're spending all that time on a film, you don't want 40,000 people to see it - it's just not enough. You dream of more.

Adele's look is meticulously thought through and completely of her own traits. She has such a powerful beauty, such an emotional voice, and the kohl, the hair, everything feels organically molded to her personality.

The nature and the DNA of IMAX has been redefined in the past years to shoot these huge blockbusters. But I think that it's not the sole purpose of IMAX to capture cars exploding in your face.

A lot of directors say, 'Do whatever you want, and I'll just change it on set.' But I love being involved in every part of production. It's very exciting. It's like an empire of creation: Everybody is working so hard to respect a vision and an idea, and it's very weird and inspiring at the same time.

'Heartbeats' is a film on people magnifying and subliming reality when they're in love. Hence the overstylized look, the aesthetics, the robes, the dresses, the vintage, hipster-ish look: All of this is voluntary. I'm not a hipster. I'm not!

I don't have mom issues or dad issues. I think I have found peace about many things in my past. I have forgiven and asked to be forgiven.

Men are born privileged in the scale of things - I'm generalizing, but it's true. Women have to define themselves in the eyes of men. They have to fight for their rights, especially in a society that will pretend that there is no fight or no battle, that it's a cliche, that feminists are reactionary, all these things.

For me, 'Mommy' was about developing very humane characters that would be very credible and endearing and work onscreen.

Orson Welles was lazy. He was a late bloomer.

It's become a habit to make films where the father is absent. My father impresses me, but the father figure does not.

I've fondly dreamed of becoming the face of an important brand since I was a child, in the same way that others dream of becoming an astronaut. I dreamed of this as I first and foremost dreamed of becoming an actor and would look up at these huge posters of celebrities while driving along motorways or crossing under bridges.

I think great artists have no time to waste with having disproportionate egos and irrational requests. They're too focused on their work to actually lose themselves in hysterical spirals where they become monsters or tyrants.

That I am today the face of Louis Vuitton almost seems like a twist of fate. You dream back to front, wanting the rewards before putting the work in. And then you work, get on with life, and just sometimes these childhood dreams have a way of catching up with you. This is a true privilege for which I am eternally grateful.