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.

You can't fool an audience with lots of bits and pieces. You have to lead them somewhere.

You give, actually, what you have in your inner world through your emotion and feeling. That's what you can give; it's not so much about "acting" in a sense of playing something that's very different to you.

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.

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.

You become more and more charged with your life and with a life that you're observing. When I was younger, I was actually looking forward to getting older, to have more insight, more understanding. I'm much more tolerant with others and with myself. I'm not in rebellion all the time, I'm not angry so much. But all those feelings are really useful [when you're young] because they fire us, as long as they don't get out of control.

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.