At the beginning it wasn't to do with the work, it was more the experience.
Everyone gets the feeling that they know you and they know your life, and I felt really embarrassed by that.
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.
I can be very inhibited and complex.
I can see what my mother gave me, very English things, like Morecambe and Wise. But with the English I'm not really comfortable.
I couldn't do anything else, I enjoy it so much. But I find it tough.
I didn't know where to begin-I was very frustrated, not knowing how to start. At the same time it was very enjoyable to be able to wear my own clothes.
I don't feel I have to share everything.
I found it very difficult to explain to someone why you did a film. It's not like having a conversation.
I hated seeing myself on screen. I was full of complexes. I hated my face for a very, very long time.
I have a very easy life, but you depend on other people's will, and sooner or later you get doubts about yourself.
I have my life to lead. If nothing happens in the next few years, I'll just let go.
I hope I'll consider my next part, having learnt from this one.
I imagine it's very hard for parents to let go of their child like that, but they made me feel that I could decide.
I know that Yvan has no problems talking about our son. But I have problems, because I have lived it with my parents.
I so loved the script, but I was scared at what people would think-I thought maybe it would be taken seriously.
I still find it hard to push my own limits. I know where my limits are and that I always have to push myself.
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 used to hate being recognised.
I was putting all those pressures on myself.
I was very shy as a teenager, so I felt uncomfortable as soon as someone recognised me in the street.
I wasn't getting the responses I hoped for. You can't protect yourself from other judgments.
I went on television and I wouldn't say a word; I feel so stupid when I watch them again.
I'm a very shy person towards my intimacy and private life.
I'm desperate to work again. I've often had those periods, but two years was the longest.
I'm getting more and more desperate. I can't just open the doors and let people in.
I'm sure that my mother and father must have read the script for Paroles et Musique, but we never talked about it.
If I take a step back, I see that it's a weird job to be doing. But I've been into it since I was 12 and I love it.
In 10 years I've seen all the different governments, and they've never done anything.
In Franc, you're with the crew, and you have lunch with them. It's more like a family.
In France I'm very private, I don't like talking about my life, and I imagined that people would think that I'm now an open book.
It wasn't a question of being jealous of their parts, it was just a question of what was my place in that comedy.
It's more than a job. It's very personal, so when you're hurt, you're really hurt inside.
It's nice that we have all these different films.
Journalists wanted to get information about how I was raised, what my father was like, our private life. I hated it.
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.
My parents, they're so popular - people are very sweet with the whole family. It's quite special.
My voice was shaky, and I didn't have any breath. We tried all sorts of things to make me a little freer. Drinking: that didn't work. Hiding behind a sheet: that worked.
No one pushed me to do a film, and I can't remember either my mother or my father saying what they thought about scripts.
Oh, the interviews. I started doing them when I was 13 or 14. I found it terrible.
On one film I was not very self-confident. I was asking everyone if they had seen the rushes, wanting to get advice from everyone. I went into a panic.
The character is close to me, except that I haven't lived through those situations, so it's not completely me.
The director was doing the acting and the directing with such energy at the same time that it was a pleasure to watch.
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.
The more you turn down things, the more difficult it becomes to feel that the next one will be right.
There was a scene where we were making love, but in a very trashy way, and it was supposed to be funny but I didn't feel it was funny.
There were always questions about my parents; I got so fed up with that.
Wanting to do it was much more powerful than the fright.
When My Wife is an Actress came out in France, people said it doesn't look like a French film, that it has more of a British tone to it, which I find very flattering.
When you love someone, you don't want them to suffer at all.
You don't even need the director's judgement. It's too much.
You think that being a girl is degrading, but secretly, you'd love to know what it's like, wouldn't you?
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