Q: How much were you aware of the plot when you were signing for "Prometheus"?

A: It's very rare that I sign for a role without knowing anything: usually, I read the whole script before accepting. Damon Lindelof's screenplay seduced me with the acuity of writing, which provides very strong philosophical imprint. He worked on the idea that searching for creators is not necessarily always mean just to find them but sometimes also confront them.

Q: In what manner you approached the mechanical dimension of your character?

A: I was searching for a right posture, with the idea of regularity, the economy of movement. It comes really from the organization of robot-body, David is one of the earlier models and less advanced than those in Alien. I though of Greg Louganis, Olympic-plunge: the way he was moving to the start point, his gestures. I was also looking of what might be of humans in this robot. He has some certain 'store of emotions' without him however being able to orginise this logic of reactions that we have, for example, on jealousy or insecurity of the ego...

Q: Filming with the green screen and generated images affected the way you played?

A: There was very few of this. The ship. the planet on which the crew arrives, everything has been recreated in the studio, and only few sections of necessary decorations were on green screen. Coming from the world of art, Ridley thinks that the textures are essential. This is his way to do: take the advantage of new technologies while turning to what was done better before. This way he creates the universe completely different from "Alien' one while keeping some connections the original film.