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.

European films were what it was about for me - the sensations I needed, the depth, the storytelling, the characters, the directors, and the freedom that you can't really find in American films.

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.

A film based on a jolly good John Grisham book is fine, but I like to get a bit under the skin.

You can never really judge your work because once it's done, it's done.

I think that most actors don't have very good opinions of themselves.

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.

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

A lot of young actors will do a scene and then run off and look at themselves. I don't believe in that at all.

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.

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.

To grieve is something extremely difficult, we don't even know how to begin to grieve, and I don't know how you can be taught to grieve.

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.

I am fascinated by the whole process of what it's like to be alive, whether it's unbelievably uncomfortable and horrible or whether it's quite nice.

You cannot watch yourself dispassionately.

Doing cinema is not about watching yourself.

Ever since I was a small child, I've had this feeling - it's in my nature, and so it's not even pretentious - that if everyone's going one way, I will go the other, just by some kind of spirit of defiance.

Fashion is not trivial. It's a huge industry and a big part of our lives. Fashion is about us - how we look and present ourselves, how we can change ourselves, and our perceptions. You can dress up to be quite glorious creatures - it's all a very important part of life.

Go out there and try on everything - short skirts, long skirts, mid length, little jackets, men's clothing - and really look at yourself; really walk around in the clothes. Don't just take someone else's advice. You must feel you in these clothes and feel what it's like to live in them.

I am actually a very unspeaking person. I'm not really good in social situations. People expect me to be more outgoing. I don't know why. They think I have this kind of assurance.

I could have carried on in comedy. But my life was dark.

I don't want to play everything. So I'll seek out roles that I'll say, 'This is edgy. This is fun. This is wicked. This suits me.'

I felt very special in Paris, more special than I felt in London. I love London for different reasons. I've always been close to London, being English. But somehow, there's something special about living as an Englishwoman in Paris.

I haven't got ambitions. Actually, I'm determined not to die until I get very old. I want to be a great-great-great-grandmother.

I know I have great inner strength; I always have. I can blank things out, cut people out, and I know that I can go and live in a cave on my own if necessary.

I must explore desert ground and see what can grow. But there are limits. I know in my heart what I would never do.

I remember my father saying to me once, 'I finally know how to describe you, Charlotte. You're prickly.' And he was right - prickly is a very good description. If I had to be an animal, I'd probably be a porcupine.

I started writing diaries, and mine were horrible. Oh, the monotony. Oh, the angst. I said, 'I don't want anyone to find these!' I destroyed them.

I think the happiest time of my life was when I was in my late teens. I was a little bit of an it-girl. Making myself seen. And it was a wonderful time to be young.

I think the reason I have secrets is because there are a lot of things I haven't been able to let out, and I'm able to let them out through the screen and this medium.

I think what we do best, in the artistic world, are the things where we're handicapped.

I was incredibly fatalistic. I just thought, 'If it works, it works.' But I've always been like that. I've never been easily impressed, and I've never thought I didn't deserve something. If I got it, then I deserved it.

I was very friendly with Jimi Hendrix because my boyfriend at the time, Tommy Weber, was making a film about him, so I would go to all of his shows.

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.

I'm not very good at talking and being with people and being gregarious and outgoing. I love people, but I have great difficulty doing it.

I'm very flattered to be called a style icon! But it's simple, my style; it's just men's suits and shoes. That's the basic premise.

I've played the wicked mothers; I've played the serial-killer-type mothers now. They have to have an edge on them. They can't just be everyday moms, because I never thought of myself as an everyday person in cinema - I'm an everyday person in real life, like anyone. But not in what I project out there. I want something more exciting.

If you don't have a certain amount of stage fright, then it's not going to be that interesting. It's not going to have the inner vibration. I think screen work needs inner vibration.

If you want to paint the inner life, you paint it from the exterior. From the exterior, you breathe the inner life into your painting.

If you were to find all the people I've worked with and ask them what they think of me, they're all just going to say, 'Oh, wonderful', and it'll just be a lot of blah.

It's sort of fun. If someone's eyeballing you, it makes you feel good.

My mother's incredible diaries, which she'd written from when she was 21, and even before that. She fell in love with my father when she was 12.

My style very much leans towards the masculine, but I think I am feminine in it - I like the feminine body in masculine shapes. The androgynous look suits me.

One mysterious person looking at another mysterious person equals what? Another mystery.

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.

Usually, watching yourself is pretty awful. People think we all love watching our own films. We don't. We cringe away from it.

We must be very careful when we say that somebody giving you compliments about your looks should be offensive. I think women really should look at why they're being offended by that.

What I am doing is not acting. I am playing myself.