At the beginning it wasn't to do with the work, it was more the experience.

I still find it hard to push my own limits. I know where my limits are and that I always have to push myself.

I was really nervous about people booing, because my mother had gone for a film 20 years earlier and had a terrible time with people booing, whistling, so I knew that in Cannes people can get aggressive.

With a film you go with the script that's already written. And I've never thought of a project, a film that would come from my own desire. I don't think I can do it. I need someone else's desire to be able to do something. With a record, it is completely different, it's a collaboration with another artist, but I'm willing to go into intimate places with no masks on.

I came to understand that people come and see you because they like you. They don't come to throw things at you.

I don't have a career plan. I've never done that. Things happen accidentally and I've been lucky.

It rarely happens that I get to work again with the same director. I had such a wonderful time on Antichrist with Lars von Trier, that I was going to do whatever he proposed me to do. When he sent me the script of Christmas, I just loved it. I think I love anything he writes.