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.

We all have loads of information. What an actor does is bring it to the surface. I jump without a net because that's how I am. The information comes out because I am brave enough to allow it. I'm not brave as a human being in everyday life. I'm brave when I'm acting.

Training is fabulous because it gives you a basis, a strong structure, so that when you're unbelievably nervous and you think that you can't get a word out, you will get the word out.

The '60s in London obviously brought about the explosion of music, the Beatles especially, and then the Rolling Stones and other forms of music, and then fashion and photography and films - kitchen-sink dramas we called them at that time, which was our nouvelle vague in Britain, films that talk about real life.

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.

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

Close girlfriends I don't have necessarily, as an actress. Perhaps there is a thing of competition there, you know, when you're doing the same things, and you're the same age. I could be with younger actors, but woman of my age probably - there is and there isn't, one doesn't like to think of it, but I think there is a sense of competition. Which is good, also.