My style very much leans towards the masculine, but I think I am feminine in it - I like the feminine body in masculine shapes. The androgynous look suits me.
If you were to find all the people I've worked with and ask them what they think of me, they're all just going to say, 'Oh, wonderful', and it'll just be a lot of blah.
The process of filmmaking is very musical, you get into the rhythm and the rhythmics of how someone is, especially with Woody Allen who is very much into body language and body movement.
Ever since I was a small child, I've had this feeling - it's in my nature, and so it's not even pretentious - that if everyone's going one way, I will go the other, just by some kind of spirit of defiance.
My mother's incredible diaries, which she'd written from when she was 21, and even before that. She fell in love with my father when she was 12.
I started writing diaries, and mine were horrible. Oh, the monotony. Oh, the angst. I said, 'I don't want anyone to find these!' I destroyed them.
I felt very special in Paris, more special than I felt in London. I love London for different reasons. I've always been close to London, being English. But somehow, there's something special about living as an Englishwoman in Paris.
When a subject pops into a director's head, you either fit in there somewhere, or you don't. An actor is only who he is. Especially as you get older, there's not as much of a range of potentially feasible parts.
French women have been made beautiful by the French people - they're very aware of their bodies, the way they move and speak, they're very confident of their sexuality. French society's made them like that.
I'm not very good at talking and being with people and being gregarious and outgoing. I love people, but I have great difficulty doing it.
I think what we do best, in the artistic world, are the things where we're handicapped.
I'd had a French education for three years, my father being in the army. From 9 to 12, I went to French school. I've been sort of part of the culture, part of the geography, since I was quite young - the imprint was there.
If you want to paint the inner life, you paint it from the exterior. From the exterior, you breathe the inner life into your painting.
I know I have great inner strength; I always have. I can blank things out, cut people out, and I know that I can go and live in a cave on my own if necessary.
A film based on a jolly good John Grisham book is fine, but I like to get a bit under the skin.
I think the happiest time of my life was when I was in my late teens. I was a little bit of an it-girl. Making myself seen. And it was a wonderful time to be young.
One of the reasons I don't see eye to eye with Women's Lib is that women have it all on a plate if only they knew it. They don't have to be pretty either.
Go out there and try on everything - short skirts, long skirts, mid length, little jackets, men's clothing - and really look at yourself; really walk around in the clothes. Don't just take someone else's advice. You must feel you in these clothes and feel what it's like to live in them.
I am actually a very unspeaking person. I'm not really good in social situations. People expect me to be more outgoing. I don't know why. They think I have this kind of assurance.
If words don't have vibration behind them, and a real feeling behind them, then they're just words.
