{"id":540064,"date":"2020-09-09T00:00:00","date_gmt":"1970-01-01T00:00:00","guid":{"rendered":"https:\/\/numero.com\/culture\/interview-with-the-irresistible-vincent-cassel\/"},"modified":"2020-09-09T00:00:00","modified_gmt":"1970-01-01T00:00:00","slug":"interview-with-the-irresistible-vincent-cassel","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/culture\/interview-with-the-irresistible-vincent-cassel\/","title":{"rendered":"Interview with the irresistible Vincent Cassel"},"content":{"rendered":"\n
\n \n
\n \n
\n \"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>\n \n <\/figure>\n \n <\/div>\n \n
\n \n
\n \"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>\n \n <\/figure>\n \n <\/div>\n <\/div>\n

 <\/p>\r\n\r\n

Among his generation, is there a more desirable French actor? Some may quibble, but Vincent Cassel,<\/b> who turns 49 in November, is up there at the top end of the not-solong list of charismatic male leads fabriqu\u00e9s en France. To start with there\u2019s his filmography, which speaks for itself. From Jacques Audiard (Sur mes l\u00e8vres<\/i>) to Steven Soderbergh (Ocean\u2019s Twelve <\/i>and Ocean\u2019s Thirteen<\/i>) via David Cronenberg (Eastern Promises<\/i> and A Dangerous Method<\/i>), Cassel has gone beyond his initial public image as a member of a young French film pack \u2013 alongside Mathieu Kassovitz, Jan Kounen and Gaspar No\u00e9 \u2013 to carve out a broader and far more unexpected career. Even with his flops \u2013 such as Blueberry <\/i>or Sa Majest\u00e9 Minor<\/i> \u2013 he\u2019s managed to hold his head up high with typical panache. In Mon roi<\/i>, directed by Ma\u00efwenn and shown at this year\u2019s Cannes Film Festival, he plays a man who is both scary and seductive, and whose relationship with his partner, played by Emmanuelle Bercot, is passionate and explosive. It\u2019s ideal material for an actor who is very instinctive, often animal, and who can find the human qualities in violence, making audiences side with gangsters and misfits. Indeed his performances in L\u2019Instinct de mort <\/i>and L\u2019Ennemi public n\u00b0 1<\/i> \u2013 Jean-Fran\u00e7ois Richet\u2019s diptych about notorious French bandit Jacques Mesrine \u2013 remain among his most memorable, and his resemblance to a frustrated dancer plays entirely in his favour. Today Cassel\u2019s career is not only international but multinational. During our interview, just before jetting off to join Matt Damon and director Paul Greengrass for the fifth episode of the Jason Bourne saga, he explained that he was \u201cgoing to carry on filming abroad: Italy, Spain, Australia and Brazil, where I live. I\u2019ve already done two films there. I\u2019m potentially a Brazilian actor, I speak the language. I\u2019ve been going there for 30 years, so I\u2019d be an idiot if I didn\u2019t speak it!<\/i>\u201d Welcome to the all-or-nothing world of Vincent Cassel. <\/p>\r\n\r\n

 <\/p>\r\n\r\n

Num\u00e9ro: Mon roi is a tale of coercion and dominance: your character wields power over the woman he seduces. <\/b><\/p>\r\n\r\n

Vincent Cassel: I <\/b>beg your pardon, but I never approached this role as that of a predator who\u2019s found himself a poor damsel he can terrorize to satisfy his tortuous mind. For me this film was much more a love story. I tried to remain normal with respect to my character, without imagining someone with a narcissistic personality disorder. Relationships are always a bit violent when there\u2019s passion involved. There can be a certain severity, both psychological and in the things people say, because they\u2019re going through something very intense.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

After the film was shown at Cannes, Twitter was abuzz with references to the idea of \u201cperverse narcissism,\u201d as though Mon roi <\/i>were a social case study. It was women who were saying that, right? <\/b><\/p>\r\n\r\n

Some of them end up saying that men are perverse narcissists when they think they\u2019ve been had. You shouldn\u2019t forget that the whole script is written from the point of view of a woman who\u2019s taking tranquillizers and who\u2019s beginning to lose control of herself. I always felt that Mon roi showed a rather distorted version of reality. <\/p>\r\n\r\n

 <\/p>\r\n\r\n

Like a hallucination? <\/b><\/p>\r\n\r\n

Perhaps at times Emmanuelle Bercot\u2019s character fantasizes about a male figure that doesn\u2019t actually exist. I recognize myself in him, I recognize a lot of people in him, but he\u2019s incomplete. We never see him alone, when the mask comes off. And it was a strong choice to show him like that. At the end of some of the scenes, the camera stays on him, and I don\u2019t think that\u2019s what works best. We should stay with the woman\u2019s point of view. That\u2019s why the film is called Mon roi: she\u2019s the one who\u2019s speaking. The guy is dazzling, a bit like an Italian, capable of risking everything to get himself out of a spot. He\u2019s constantly jockeying and juggling. And at least he isn\u2019t afraid of doing that. <\/p>\r\n\r\n

 <\/p>\r\n\r\n

With Ma\u00efwenn you have no choice but to ram right into the realities of life. <\/b><\/p>\r\n\r\n

She puts you in situations and then asks you to explore them as you are. She shoots a lot of footage, knowing in advance that she\u2019ll cut much of it. Inevitably she gets very natural, life-like reactions. There comes a moment on set where we\u2019re not really acting anymore, but are defending a line of argument to someone. If we just followed the script, the scenes would take two minutes to shoot and she\u2019d get bored. So we start inventing. Ma\u00efwenn wants to see how the situation she\u2019d imagined can be given an authentic texture. The improvised scene won\u2019t be any longer in the final film than in the script, but she\u2019ll keep the essence of what happened \u201clive,\u201d all the accidents. <\/p>\r\n\r\n

 <\/p>\r\n\r\n

Does it bother you that a director keeps your acting \u201caccidents\u201d? <\/b><\/p>\r\n\r\n

Nothing bothers me if I have confidence in the person who\u2019s filming. It\u2019s like with him [he nods towards Peter Lindbergh, who took the photos for the interview]. Really creative people don\u2019t show up with preconceived ideas. They have a feeling. Then they play with what\u2019s happening so as to go towards what they wanted to see. It\u2019s always organic. <\/p>\r\n\r\n

 <\/p>\r\n\r\n

Between Dobermann <\/i>and Black Swan<\/i>, you\u2019ve made films that are extremely different. Is their organic character what they have in common? <\/b><\/p>\r\n\r\n

I deal better with cinema that way. I like it to be spontaneous. With Mon roi, I didn\u2019t know in what order Ma\u00efwenn was going to put the scenes together, and that was great! <\/p>\r\n\r\n

 <\/p>\r\n\r\n

Does film making involve a certain amount of danger? <\/b><\/p>\r\n\r\n

Not life-threatening danger. What you\u2019re risking is your image. People are expecting something from you. I saw that, in one of her recent films, Catherine Deneuve sleeps with a monkey. I can understand why she did that. With the filmography she has behind her, she might want to do an offbeat movie like that. The only risk that actors really take is being ridiculous or just bad, and ultimately being out of work and considered a has-been. [Laughs.] What\u2019s the point of only half doing things? I think it\u2019s much more dangerous to do things for the wrong reasons, thinking that you\u2019ll arrange everything so that it works out. On the contrary, if you\u2019re a bit of a daredevil, if you play with fire, people respect you. <\/p>\r\n\r\n

 <\/p>\r\n\r\n

Do you feel the need to be protected by directors? <\/b><\/p>\r\n\r\n

I need to know that the person directing me isn\u2019t just trying to make sure their film will \u201cwork.\u201d I look for people with a vision. There needs to be a bit of thought behind it all! Most of the directors I\u2019ve worked with seemed to me to have that: Gaspar No\u00e9, Jacques Audiard, David Cronenberg, Matthieu Kassovitz, Ma\u00efwenn. Have you seen Gaspar No\u00e9\u2019s Love in 3D? There are things you can do in painting that you can\u2019t do in film. But with that movie he does them in film, and it becomes like a work of art. You may or may not like it, but it\u2019s worth watching. I have a lot of respect for the stand Gaspar has taken since the beginning \u2026 Each time, he produces something that inspires others. That sort of hovering aesthetic he invented in Enter the Void has been used all over the place, sometimes without people\u2019s even realizing it, because he has a pop influence. <\/p>\r\n\r\n

 <\/p>\r\n\r\n

Do you still think you\u2019re part of a French cinema family? You started out with Jan Kounen and Mathieu Kassovitz. <\/b><\/p>\r\n\r\n

There was a desire at the time, in the 90s, to make French movies that were different to what we were usually served up. But as they get older, people assert themselves and drift apart. In fact, families in cinema exist most of all when seen from the outside. People talked about a Nouvelle Vague family, but they were all constantly attacking each other. I would have liked to be in a cinema family\u2026 Except that getting films made is so difficult that you can\u2019t work together just because you\u2019re mates. A director, even if he\u2019s a friend, hires you because he needs you, because you correspond to what he\u2019s looking for, not because of the vacation in Corsica you went on together. <\/p>\r\n\r\n

 <\/p>\r\n\r\n

Actors have an important responsibility \u2013 if auteur films get made today, it\u2019s often thanks to stars like you.<\/b> An actor with a bit of fame can have that responsibility. I met Kim Shapiron, who directed Sheitan, when he was really young. I produced his film, I instigated it. But I always say that if a film doesn\u2019t get made because I turned it down, then I was right to turn it down… If a director really has something to say, he\u2019ll get there, whatever the conditions. In the \u201cmaking of\u201d for Apocalypse Now, which is great, you can hear Coppola, who didn\u2019t know his wife was recording him, saying, \u201cIf I can\u2019t get Marlon Brando, I\u2019ll hire Martin Sheen, and if I can\u2019t get Sheen it\u2019ll be Jack Nicholson\u2026\u201d A film doesn\u2019t depend on an actor. <\/p>\r\n\r\n

 <\/p>\r\n\r\n

Does that force you to be humble? <\/b><\/p>\r\n\r\n

I know that everyone is replaceable. It\u2019s part of my job to make people believe that I\u2019m not, but really no one is irreplaceable. Even less so in the movies. <\/p>\r\n\r\n

 <\/p>\r\n\r\n

This year marks the 20th anniversary of La Haine, the film you made with Mathieu Kassovitz. It\u2019s an anniversary that people have been talking about.<\/b> <\/p>\r\n\r\n

We\u2019re coming out of that period, thank goodness. [Laughs.] I\u2019m joking, I was delighted. It\u2019s rare for a film to mark a whole generation. Following that experience, I\u2019ve always thought you should trust your taste, rather than limiting yourself to what the market demands. La Haine was already about our times, but without the archaism of Islamic fundamentalism, and without all the technology \u2013 internet and cell phones. It\u2019s an important film \u2013 I became conscious of that when it came out. It also changed my career. I thought I still had a few years to go in the wings when it came along. <\/p>\r\n\r\n

 <\/p>\r\n\r\n

Do you think you\u2019re a better actor today? <\/b><\/p>\r\n\r\n

I manage to get results with less effort. Before, I needed to get myself into all sorts of states. Now I get the same result more easily \u2013 I\u2019m more relaxed, accepting, go-with-the-flow, non-judgmental. I\u2019ve stopped bothering with the preliminaries. <\/p>\r\n\r\n


\r\n <\/p>\r\n\r\n

You sound like a sportsman or a dancer. <\/b><\/p>\r\n\r\n

I\u2019ve always thought there were analogies between sport, dance and acting. A guy can train all he wants, but the day he has to jump he\u2019s had a row with his mother, he\u2019s got stomach ache from last night\u2019s dinner, the wind\u2019s in the wrong direction, he slept badly\u2026 but he has to produce his best performance. And that\u2019s us a bit too. It\u2019s at that precise moment, when you hear the word \u201caction,\u201d that the thing has to happen. It\u2019s never predictable. <\/p>\r\n\r\n

 <\/p>\r\n\r\n

So you look for intuitive directors. <\/b><\/p>\r\n\r\n

I don\u2019t see how you can make good films without being intuitive. It\u2019s impossible to do anything involved with the performing arts without that approach. Peter Lindbergh, Mondino, Cronenberg, Xavier Dolan\u2026 There\u2019s always a certain amount of preparation you have to do with them that\u2019s more or less complicated, but once you get to the performance it\u2019s always fresh and alive. They know how to give themselves over to the moment and get the most out of it. And let\u2019s not even talk about G\u00e9rard Depardieu, who has that in him. <\/p>\r\n\r\n

 <\/p>\r\n\r\n

You\u2019ve just made a film with Xavier Dolan called Juste la fin du monde. How did that go?<\/b><\/p>\r\n\r\n

Marion Cotillard, Gaspard Ulliel, Nathalie Baye, L\u00e9a Seydoux and me \u2013 that\u2019s a pretty cool French line-up. I wasn\u2019t supposed to be in it, but an actor left the film for a role I\u2019d refused, which is funny. I have to say I can never thank him enough. Juste la fin du monde [which will probably be shown at Cannes next year] tells the story of a family, but like a Greek tragedy. Xavier Dolan knew exactly what he wanted to shoot. He had a certain budget and a certain amount of time, and he\u2019d worked out and mastered the format of his film in advance. There\u2019s thought behind it, an internal logic. Some directors have an aptitude, a talent, a certain weight that comes across straight away. I\u2019m sure that Sergio Leone, on his first film, didn\u2019t come across as a porn-movie maker! [Laughs.] <\/p>\r\n\r\n

 <\/p>\r\n\r\n

Would you say that you tell audiences something about yourself through your characters?<\/b> Roles will often open a door into myself, an aspect of my personality that I\u2019d never envisaged. I make sure the door stays open, I don\u2019t close it again after the film. I know it\u2019s there. There must be a certain logic, a colour, a flavour, if you line up my films one after the other. When I think about it, there are very few I could show my children. I told them that later they\u2019d understand that their dad is a bit weird!<\/p>\r\n\r\n

 <\/p>\r\n\r\n

And these doors that you spoke of, what exactly do they open onto?<\/b> Sometimes just a laugh. I remember that on Sheitan and L\u2019Instinct de mort, I was laughing in a rather particular way. A sort of guffaw. Now I\u2019m laughing like that again in real life. Thanks to the movies, I\u2019m still discovering myself. There\u2019s a whole part of me, a \u201cmanimal,\u201d that I\u2019m becoming aware of and that\u2019s re-emerging.<\/p>\r\n\r\n

 <\/p>\r\n","protected":false},"excerpt":{"rendered":"

  Among his generation, is there a more desirable French actor? Some may quibble, but […]<\/p>\n

Read More… from Interview with the irresistible Vincent Cassel<\/span><\/a><\/p>\n","protected":false},"author":0,"featured_media":540058,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[5],"tags":[],"class_list":["post-540064","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-culture"],"acf":[],"yoast_head":"\nInterview de l'acteur Vincent Cassel<\/title>\n<meta name=\"description\" content=\"Interview de l'acteur Vincent Cassel.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/numero.com\/en\/culture\/interview-with-the-irresistible-vincent-cassel\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Interview de l'acteur Vincent Cassel\" \/>\n<meta property=\"og:description\" content=\"Interview de l'acteur Vincent Cassel.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/numero.com\/en\/culture\/interview-with-the-irresistible-vincent-cassel\/\" \/>\n<meta property=\"og:site_name\" content=\"Num\u00e9ro\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/numeromagazine\/\" \/>\n<meta property=\"article:published_time\" content=\"1970-01-01T00:00:00+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/numero.com\/wp-content\/uploads\/2024\/06\/push-cover_vincent_cassel_peter_lindbergh_olivier_joyard-1.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1600\" \/>\n\t<meta property=\"og:image:height\" content=\"790\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@NumeroMagazine\" \/>\n<meta name=\"twitter:site\" content=\"@NumeroMagazine\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"12 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"NewsArticle\",\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/culture\\\/interview-with-the-irresistible-vincent-cassel\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/culture\\\/interview-with-the-irresistible-vincent-cassel\\\/\"},\"author\":{\"name\":\"\",\"@id\":\"\"},\"headline\":\"Interview with the irresistible Vincent Cassel\",\"datePublished\":\"1970-01-01T00:00:00+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/culture\\\/interview-with-the-irresistible-vincent-cassel\\\/\"},\"wordCount\":2416,\"publisher\":{\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/culture\\\/interview-with-the-irresistible-vincent-cassel\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/numero.com\\\/wp-content\\\/uploads\\\/2024\\\/06\\\/push-cover_vincent_cassel_peter_lindbergh_olivier_joyard-1.jpg\",\"articleSection\":[\"Culture\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/culture\\\/interview-with-the-irresistible-vincent-cassel\\\/\",\"url\":\"https:\\\/\\\/numero.com\\\/en\\\/culture\\\/interview-with-the-irresistible-vincent-cassel\\\/\",\"name\":\"Interview de l'acteur Vincent Cassel\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/culture\\\/interview-with-the-irresistible-vincent-cassel\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/culture\\\/interview-with-the-irresistible-vincent-cassel\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/numero.com\\\/wp-content\\\/uploads\\\/2024\\\/06\\\/push-cover_vincent_cassel_peter_lindbergh_olivier_joyard-1.jpg\",\"datePublished\":\"1970-01-01T00:00:00+00:00\",\"description\":\"Interview de l'acteur Vincent Cassel.\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/culture\\\/interview-with-the-irresistible-vincent-cassel\\\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/numero.com\\\/en\\\/culture\\\/interview-with-the-irresistible-vincent-cassel\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/culture\\\/interview-with-the-irresistible-vincent-cassel\\\/#primaryimage\",\"url\":\"https:\\\/\\\/numero.com\\\/wp-content\\\/uploads\\\/2024\\\/06\\\/push-cover_vincent_cassel_peter_lindbergh_olivier_joyard-1.jpg\",\"contentUrl\":\"https:\\\/\\\/numero.com\\\/wp-content\\\/uploads\\\/2024\\\/06\\\/push-cover_vincent_cassel_peter_lindbergh_olivier_joyard-1.jpg\",\"width\":1600,\"height\":790},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/culture\\\/interview-with-the-irresistible-vincent-cassel\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Accueil\",\"item\":\"https:\\\/\\\/numero.com\\\/en\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Culture\",\"item\":\"https:\\\/\\\/numero.com\\\/en\\\/category\\\/culture-en\\\/\"},{\"@type\":\"ListItem\",\"position\":3,\"name\":\"Interview with the irresistible Vincent Cassel\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/#website\",\"url\":\"https:\\\/\\\/numero.com\\\/en\\\/\",\"name\":\"Num\u00e9ro\",\"description\":\"\",\"publisher\":{\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/#organization\"},\"alternateName\":\"Num\u00e9ro Magazine\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/numero.com\\\/en\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-US\"},{\"@type\":\"Organization\",\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/#organization\",\"name\":\"Num\u00e9ro\",\"url\":\"https:\\\/\\\/numero.com\\\/en\\\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-US\",\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/#\\\/schema\\\/logo\\\/image\\\/\",\"url\":\"https:\\\/\\\/numero.com\\\/wp-content\\\/uploads\\\/2024\\\/04\\\/Logo.svg\",\"contentUrl\":\"https:\\\/\\\/numero.com\\\/wp-content\\\/uploads\\\/2024\\\/04\\\/Logo.svg\",\"width\":907,\"height\":181,\"caption\":\"Num\u00e9ro\"},\"image\":{\"@id\":\"https:\\\/\\\/numero.com\\\/en\\\/#\\\/schema\\\/logo\\\/image\\\/\"},\"sameAs\":[\"https:\\\/\\\/www.facebook.com\\\/numeromagazine\\\/\",\"https:\\\/\\\/x.com\\\/NumeroMagazine\",\"https:\\\/\\\/www.instagram.com\\\/numeromagazine\\\/\",\"https:\\\/\\\/fr.wikipedia.org\\\/wiki\\\/Num\u00e9ro_(magazine)\"]}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Interview de l'acteur Vincent Cassel","description":"Interview de l'acteur Vincent Cassel.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/numero.com\/en\/culture\/interview-with-the-irresistible-vincent-cassel\/","og_locale":"en_US","og_type":"article","og_title":"Interview de l'acteur Vincent Cassel","og_description":"Interview de l'acteur Vincent Cassel.","og_url":"https:\/\/numero.com\/en\/culture\/interview-with-the-irresistible-vincent-cassel\/","og_site_name":"Num\u00e9ro","article_publisher":"https:\/\/www.facebook.com\/numeromagazine\/","article_published_time":"1970-01-01T00:00:00+00:00","og_image":[{"width":1600,"height":790,"url":"https:\/\/numero.com\/wp-content\/uploads\/2024\/06\/push-cover_vincent_cassel_peter_lindbergh_olivier_joyard-1.jpg","type":"image\/jpeg"}],"twitter_card":"summary_large_image","twitter_creator":"@NumeroMagazine","twitter_site":"@NumeroMagazine","twitter_misc":{"Est. reading time":"12 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"NewsArticle","@id":"https:\/\/numero.com\/en\/culture\/interview-with-the-irresistible-vincent-cassel\/#article","isPartOf":{"@id":"https:\/\/numero.com\/en\/culture\/interview-with-the-irresistible-vincent-cassel\/"},"author":{"name":"","@id":""},"headline":"Interview with the irresistible Vincent Cassel","datePublished":"1970-01-01T00:00:00+00:00","mainEntityOfPage":{"@id":"https:\/\/numero.com\/en\/culture\/interview-with-the-irresistible-vincent-cassel\/"},"wordCount":2416,"publisher":{"@id":"https:\/\/numero.com\/en\/#organization"},"image":{"@id":"https:\/\/numero.com\/en\/culture\/interview-with-the-irresistible-vincent-cassel\/#primaryimage"},"thumbnailUrl":"https:\/\/numero.com\/wp-content\/uploads\/2024\/06\/push-cover_vincent_cassel_peter_lindbergh_olivier_joyard-1.jpg","articleSection":["Culture"],"inLanguage":"en-US"},{"@type":"WebPage","@id":"https:\/\/numero.com\/en\/culture\/interview-with-the-irresistible-vincent-cassel\/","url":"https:\/\/numero.com\/en\/culture\/interview-with-the-irresistible-vincent-cassel\/","name":"Interview de l'acteur Vincent Cassel","isPartOf":{"@id":"https:\/\/numero.com\/en\/#website"},"primaryImageOfPage":{"@id":"https:\/\/numero.com\/en\/culture\/interview-with-the-irresistible-vincent-cassel\/#primaryimage"},"image":{"@id":"https:\/\/numero.com\/en\/culture\/interview-with-the-irresistible-vincent-cassel\/#primaryimage"},"thumbnailUrl":"https:\/\/numero.com\/wp-content\/uploads\/2024\/06\/push-cover_vincent_cassel_peter_lindbergh_olivier_joyard-1.jpg","datePublished":"1970-01-01T00:00:00+00:00","description":"Interview de l'acteur Vincent Cassel.","breadcrumb":{"@id":"https:\/\/numero.com\/en\/culture\/interview-with-the-irresistible-vincent-cassel\/#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/numero.com\/en\/culture\/interview-with-the-irresistible-vincent-cassel\/"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/numero.com\/en\/culture\/interview-with-the-irresistible-vincent-cassel\/#primaryimage","url":"https:\/\/numero.com\/wp-content\/uploads\/2024\/06\/push-cover_vincent_cassel_peter_lindbergh_olivier_joyard-1.jpg","contentUrl":"https:\/\/numero.com\/wp-content\/uploads\/2024\/06\/push-cover_vincent_cassel_peter_lindbergh_olivier_joyard-1.jpg","width":1600,"height":790},{"@type":"BreadcrumbList","@id":"https:\/\/numero.com\/en\/culture\/interview-with-the-irresistible-vincent-cassel\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Accueil","item":"https:\/\/numero.com\/en\/"},{"@type":"ListItem","position":2,"name":"Culture","item":"https:\/\/numero.com\/en\/category\/culture-en\/"},{"@type":"ListItem","position":3,"name":"Interview with the irresistible Vincent Cassel"}]},{"@type":"WebSite","@id":"https:\/\/numero.com\/en\/#website","url":"https:\/\/numero.com\/en\/","name":"Num\u00e9ro","description":"","publisher":{"@id":"https:\/\/numero.com\/en\/#organization"},"alternateName":"Num\u00e9ro Magazine","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/numero.com\/en\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Organization","@id":"https:\/\/numero.com\/en\/#organization","name":"Num\u00e9ro","url":"https:\/\/numero.com\/en\/","logo":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/numero.com\/en\/#\/schema\/logo\/image\/","url":"https:\/\/numero.com\/wp-content\/uploads\/2024\/04\/Logo.svg","contentUrl":"https:\/\/numero.com\/wp-content\/uploads\/2024\/04\/Logo.svg","width":907,"height":181,"caption":"Num\u00e9ro"},"image":{"@id":"https:\/\/numero.com\/en\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/numeromagazine\/","https:\/\/x.com\/NumeroMagazine","https:\/\/www.instagram.com\/numeromagazine\/","https:\/\/fr.wikipedia.org\/wiki\/Num\u00e9ro_(magazine)"]}]}},"_links":{"self":[{"href":"https:\/\/numero.com\/en\/wp-json\/wp\/v2\/posts\/540064","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/numero.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/numero.com\/en\/wp-json\/wp\/v2\/types\/post"}],"replies":[{"embeddable":true,"href":"https:\/\/numero.com\/en\/wp-json\/wp\/v2\/comments?post=540064"}],"version-history":[{"count":0,"href":"https:\/\/numero.com\/en\/wp-json\/wp\/v2\/posts\/540064\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/numero.com\/en\/wp-json\/wp\/v2\/media\/540058"}],"wp:attachment":[{"href":"https:\/\/numero.com\/en\/wp-json\/wp\/v2\/media?parent=540064"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/numero.com\/en\/wp-json\/wp\/v2\/categories?post=540064"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/numero.com\/en\/wp-json\/wp\/v2\/tags?post=540064"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}