I think I will always feel a special relationship with The Umbrellas of Cherbourg, because for me it was something very, very special. It was a modern opera, and to play the heroine in a film that became such a success at a young age, and learning from him when I was so young and impressionable - really it was one of my most important experiences.

You get involved with a character after spending a long time waiting, and this demands a lot of energy and concentration.

The paparazzi are nothing but dogs of war.

I admire directors so much, I find them incredible: they manage such a huge number of people of different characters, think of the money involved.

Some people fall in love with their co-stars and feel things that they never thought they would feel for them because they are touching.

I love to do very long and complicated scenes. I like to have this impression that we are all working together, where you can see all the technicians and everybody is really doing the same thing at the same time. With close-ups, of course you have the crew there, but most of them are just around and it doesn't involve that many people.

To have a public life, you still have the right to a private life.