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But my training is instinctive and it's my training, it's what I've taught myself as I've gone along as to how to get the effect that I want.
I decided a long time ago that it's easier to spontaneously say what you think. Quite often you can get to know yourself a bit.
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 can occupy myself quite easily with what's going on inside me.
I did that film just so I could kiss Robert Redford.
Could be a little mouse inside my own home, but once I'm on a set - that's what I do, that's what I feel makes me move on: going out without a net. I have no fear of real things - I'm terrified of all the rest - but I don't know reality, because I've always lived somehow marginal with reality.
Acting came, sort of, out of the blue.
Doing cinema is not about watching yourself.
But I'm in a sense fearless when I'm doing things.
A film based on a jolly good John Grisham book is fine, but I like to get a bit under the skin.
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.
I don't think people have not thought of me; that hasn't been the problem. They might've had difficulty putting me in things, because I was rather an odd character; not quite a conventional actress.
And then I was in Signs And Wonders, and played Miss Havisham in Great Expectations.
Certainly, with George Devine, I learnt stillness, I learnt actually that movement wasn't necessary and you could convey all - we worked a lot with masks - through being still.
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.
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.
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