In a manner that's quite original for a thriller, your character is initially defined by his love for his daughter rather than his past as a secret agent. Is that what attracted you to the role of Bryan, who is more anti-hero than James Bond?
Yes, I liked the idea of making a thriller that had good pace and aimed high on an emotional level. Above all, we see Bryan as a father who idolizes his daughter. But then, even though it's never been a fantasy of mine to play James Bond, one gets a real kick out of shooting real movie baddies and driving like a racing car driver. I had also wanted to work on a film produced by Luc Besson, whom I admire greatly.
Most of the characters you have played in your career possess both physical presence and great humanity. Could we say that's your trademark?
I don't have any perspective on that. I act with what nature gave me and, to be honest, I never talked with Pierre about why he chose me for the role. But I tend to be attracted to characters who are genuinely human, meaning they have a complex range of feelings, which is true of Bryan in this movie.
You have worked with A-list directors, such as Martin Scorsese, Steven Spielberg, George Lucas and Ridley Scott. Were you particularly excited to be working with a "younger" director?
Believe me, Pierre Morel is hardly a novice! He's had the movies in his blood for a long time and is hugely experienced, especially as a director of photography. I particularly liked the originality of Banlieue 13, which showed he had a director's eye, an incredible sense of rhythm and energy, which was vital on the set of Taken. I also liked the fact that Pierre operates the camera himself.
Was it difficult emotionally to put yourself in the shoes of a father whose daughter has been kidnapped?
As a father, you can't imagine anything worse. Of course, you wonder what your own reaction would be in that situation. You picture what you'd do to her kidnappers and you soon come to the conclusion that you'd do anything in your power to save your child. I found this particularly interesting territory, because I'm traditionally against violence, especially the kind of violence Bryan resorts to in the movie. But it's a case of "them or me" and Bryan takes that situation to its logical conclusion.
Is it credible for your character to be separated from a beautiful woman like Famke Janssen?
She is indeed a beautiful woman, but the script is careful to point out that she left me!
What physical preparation did the film require?
A lot! I keep pretty fit, but I had to crank up the level and intensity of my training. Action scenes are particularly tricky. You have to pay close attention to how you move, your body position, and never take your eyes off your scene partner. It requires a lot of energy, besides the safety issues. Each time, it's a real challenge.
Was the hand-to-hand combat particularly enjoyable?
Yes, the little boy in you comes out. With good stuntmen, especially, the fight becomes a dance that you perform with great pleasure.
This is the first time you've worked with a French crew. Was it very different than your previous experiences?
One good point is the greater female presence in the crew. I'm very sensitive to the energy men and women combine to create on the set, but British or American crews are almost always overwhelmingly male. I was also grateful for French working hours, which are very civilized. Between fight scene rehearsals and filming, my days were pretty exhausting, but we had a whole night to recover. Not to mention the pleasure of the quality of life in Paris...
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