Rahim in 2014
4 July 1981 |
|Spouse(s)||LeÃ¯la Bekhti (2010â€“present)|
I recall the first time my agent told me to wear clothes specifically chosen for me, I would try and find excuses not to do it.
We need prisons because there are some hardcore criminals, but I never met a guy who has been in jail that came out with a smile on his face thinking, 'Right, that's it – now I am going to be good!'
We're seeing TV series that are as good as movies were in the '70s and '80s – shows like 'The Wire,' 'The Sopranos' and 'Breaking Bad.'
I learned to walk on my own legs, to dive so deeply into a role to forget that I'm acting.
I like films to be pure cinema, but I also like them to provide a snapshot of a family, a society or a character – something that can nourish you as a human being as well as an actor.
I don't want to say, 'I want to be in Hollywood,' like so many actors do, but I know that Hollywood is still making good movies, and I'd like to be part of that someday.
Some kids go walking in the mountains, but I just went to the cinema. So when I told my parents I wanted to be an actor, even though this wasn't normal for Arab kids or anyone in the town, they were sort of expecting it and were very supportive.
In my town, and especially in my area, there were people from everywhere: Algerians, Senegalese, French people, Asians, all kinds of immigrants and natives, and everyone circulated.
I'd rather have one good scene in a movie by a great director than a small role in a mediocre movie.
I knew I'd have to go to Paris eventually, and I didn't want to be the provincial kid who just turns up and says, 'I want to act.'
I'm an actor, full stop. Not an Arab actor. Not an actor of Algerian origin. Just an actor.
I'm looking for challenges, and as always, what matters is the script, the character and the director.
It's not about 'succeeding,' but sometimes on a film, you know you've captured something.
When you agree to work with a filmmaker, it's important that you accept their world. It's an adventure. I like that. I throw myself into the director's arms, into their universe.
With 'Eagle of the Ninth,' every shot was extremely planned and organized. The director was like, 'Do this!' And I say, 'How was it?' and he says, 'Good.' It was very odd. I would never know where he was headed, or even if he was shooting me at a close-up or from a distance.
I love fashion as an art; I love fashion as costume, as a character. I don't like dictates and the phoniness of appearance.
I simply can't wear an outfit if I don't feel that is right for me.