The more sincere I could be, the better it would be for the film.

I wasn't getting the responses I hoped for. You can't protect yourself from other judgments.

Wanting to do it was much more powerful than the fright.

I'm a very shy person towards my intimacy and private life.

The character is close to me, except that I haven't lived through those situations, so it's not completely me.

I hope I'll consider my next part, having learnt from this one.

You don't even need the director's judgement. It's too much.

I went on television and I wouldn't say a word; I feel so stupid when I watch them again.

I thought people would ask me really personal questions because I've shown more of myself, but it's a comedy, and people understand that it's a game we play.

I was putting all those pressures on myself.

You think that being a girl is degrading, but secretly, you'd love to know what it's like, wouldn't you?

It's more than a job. It's very personal, so when you're hurt, you're really hurt inside.

I couldn't do anything else, I enjoy it so much. But I find it tough.

In France, you're with the crew, and you have lunch with them. It's more like a family.

At the beginning it wasn't to do with the work, it was more the experience.

The English was really my mother, it was never me. Being the daughter of my father, I always felt very French.

The more sincere I could be, the better it would be for the film.

I used to hate being recognised.

There were always questions about my parents; I got so fed up with that.

It's nice that we have all these different films.

I hated seeing myself on screen. I was full of complexes. I hated my face for a very, very long time.

Girls can wear jeans, cut their hair short, wear shirts and boots, 'cause it's okay to be a boy, but for a boy to look like a girl is degrading.

When you love someone, you don't want them to suffer at all.

I'm desperate to work again. I've often had those periods, but two years was the longest.

Everyone gets the feeling that they know you and they know your life, and I felt really embarrassed by that.

Letting go of things and not being afraid of being ridiculous or over the top - I think that's the main thing for me to work on.

I still find it hard to push my own limits. I know where my limits are and that I always have to push myself.

The more you turn down things, the more difficult it becomes to feel that the next one will be right.

I found it very difficult to explain to someone why you did a film. It's not like having a conversation.

My best film composing experience was with Elia Kazan.

I was lucky enough to occasionally break out of that racist situation that prevails in the Hollywood film production community. But it was racist then and it will always be that way. It will never be otherwise.

'Batman' took 10 months to film, and by the time I stopped working on it, it took a long time before my English accent came out again. I was actually having to try for it.

Luck is everything... My good luck in life was to be a really frightened person. I'm fortunate to be a coward, to have a low threshold of fear, because a hero couldn't make a good suspense film.

I still feel that a movie has to attempt to say something - even if it fails miserably. But I've sort of given up on believing that I'm going to change the world with every film I choose to act in.

It's the difficulty we had with Mr. Bean, actually, when it went from TV to film. You certainly discover that you need to explain more about a character.

To make a documentary is one thing, to make a feature film is quite another.

I mean when the play was on in New York I was starting to get film offers coming through, and since the film's come out I get offered more than I used to, but it happens incrementally.

I think it would be very boring dramatically to have a film where everybody was a lawyer or doctor and had no faults. To me, the most important thing is to be truthful.

I like doing them and they're ridiculous and the actors can improvise a lot, and they don't have to be really realistic characters that hit a very specific tone as in a feature film. They're really fun, I want to make more of them definitely.

One of the most interesting aspects of the film project was collaborating with so many people - directors, filmmakers, and writers - over a five-year period. I learned that there are two components to this.

The best thing I can think of would be to create a union between something as beautiful and powerful and wonderful as Hollywood films and a criticism of the status quo. That's my dream, to make such a German film.

If he didn't fall in love he would have never come back near the end of the film. Because, what man is going to dishonor himself so that he comes back in front of the man that took a woman away from him... and warns her to save her life?

Robert Altman's Nashville is my all-time favorite film because it covers all the bases - it's original, moving, and has something to say, but also funny and incredibly entertaining.

I never see a novel as a film while I'm writing it. Mostly because novels and films are so different, and I'm such an internal novelist.

I have a movie coming out called Spun, which will be at the Toronto Film Fest.

Well ironically my last three roles have all been a mother. One was a Canadian film where the baby was taken away because she is a drug addict, in Irish Jam I play a mother to a four year old. I think in the future I'll be able to handle the role with a lot more depth.

And when you see it the first time you put the film together, the roughest cut, is when you want to go home and open up your veins and get in a warm tub and just go away. And then it gradually, maybe, works its way back, somewhere toward that spot you were at before.

A good film script should be able to do completely without dialogue.

My advice to young film-makers is this: don't follow trends, start them!