I was never any good in the school theatrical productions. I always got a role like the March Hare.

I could never have conceived that I would ever get to work in a Truffaut film. It was astonishing to me, and still is. I felt like an old pro, but it was still so unexpected.

I get called Jacqueline Bissette in America. In France, I get called Jackie Bisset. And actually, it is Jacqueline Bisset, which is not that easy to say.

Not everyone likes watching rushes, but it makes me work harder, and I don't feel I am watching myself, but watching the progression of the character.

This film business, perhaps more so in America than in Europe, has always been about young sexuality. It's not true of theatre, but in America, film audiences are young. It's not an intellectual cinema in America.

I don't come in with any preconceived ideas, and although I will have done some preparation, I can go which way the director wants.

My looks are changing obviously, so I fuss like any woman if I look tired or whatever, I put on weight and blah, blah. But some part of me is very relaxed with it all.