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I have always watched the rushes, and have learned more because I have done so, because you can have all manner of ideas in your head, but they have to end up on the screen.
I don't come in with any preconceived ideas, and although I will have done some preparation, I can go which way the director wants.
I could never have conceived that I would ever get to work in a Truffaut film. It was astonishing to me, and still is. I felt like an old pro, but it was still so unexpected.
I can't believe I've been doing it so long. In the last three or four years, I've slowed down. I'm doing only the roles I really want to do.
I am a great lover of art, in many forms: paintings, objets, textiles. I don't have the talent for painting, but I have a very good sense of colour, a love of visual beauty.
Being around people with whom you feel a connection, on many levels, not just a professional one, is very relaxing. Your ears are more open to someone who is not a cantankerous bastard.
At the time, 1980, people regarded actresses involved with production with a certain amount of fear, resentment and anger.
At first I was always cast as the girlfriend. It was a long time before I got to play characters who were people.
A mode of conduct, a standard of courage, discipline, fortitude and integrity can do a great deal to make a woman beautiful.
A Latin teacher told me I might make a good actress, and that stuck in my memory. I did some modeling, and Polanski gave me that small part.
Being A Woman
Live For The Moment
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