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.

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.

If words don't have vibration behind them, and a real feeling behind them, then they're just words.

The process of filmmaking is very musical, you get into the rhythm and the rhythmics of how someone is, especially with Woody Allen who is very much into body language and body movement.

I can be seen as not being very communicative, or rather mysterious, or distant, or rather cold - all those things. Yeah, I know I can give off that impression. So I am that, too.

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.

Quite often in life, when a tragic event arrives it becomes a springboard for mirroring all other things in one's life that one hasn't come to terms with.