I did that film just so I could kiss Robert Redford.

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

Cinema d'auteur, cinema about people, about emotions. About la difficulté d'être, the difficulty of being, existential problems. That's what the nouvelle vague is. The early '60s was all about that.

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. And I loved it.

When I take on something, I take the whole thing on. It's not even a question of separating, "Oh, am I going to be naked?" If you know you have to do something in life, for me, I go with my whole person.

I've always been monogamous - [within it] I've been in love with people, but very platonically. For me, monogamous love is about learning how to be able to trust someone completely; so you need to be able to think you can trust them. But that doesn't mean you can't have extraordinary feelings for other people and not feel guilty about them, but not necessarily go and wreck marriages and consummate, and you don't have to do all that.

There's always a time for change, and you should never be frightened of it.