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.
The character is close to me, except that I haven't lived through those situations, so it's not completely me.
I don't feel I have to share everything.
I can't do things by myself. I need a motivation, and the motivation is always the director's. I find my freedom inside other people's barriers. It's easier for me to find myself inside someone else's tracks.
It was very liberating to be able to sing in English. It had a different resonance, different images. It was like being a stranger in a foreign land, which was helpful.
I think, being an actress, you know that you're getting old. I'm 44. I mean, an agent said when I turned 40, "It won't get better."
I don't want to feel that I'm a singer or an actress - being able to say that those are just experiences is what I enjoy.
I hated seeing myself on screen. I was full of complexes. I hated my face for a very, very long time.
It rarely happens that I get to work again with the same director. I had such a wonderful time on Antichrist with Lars von Trier, that I was going to do whatever he proposed me to do. When he sent me the script of Christmas, I just loved it. I think I love anything he writes.
I think it's a legend that Lars von Trier is such a tough person to work with. I really didn't experience any of that. Of course, he's difficult in the sense that what he asks for is difficult. For my part in Antichrist, I suffered a bit. But it was the part - it wasn't him. He wasn't cruel. On the contrary, he was very kind. You know what you're up for when you read the pitch.
Even moving around onstage seemed very artificial. But at the same time you have to make that effort in order to get back to who you are and even accept not moving, if that's who you are.
I was very well paid for my age, and I could make choices, decide not to do a film for six months and wait until I'd get the right thing. Which made me quite a coward.
I found it very difficult to explain to someone why you did a film. It's not like having a conversation.
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 felt that people would criticize everything. I was so scared about playing Paris. I was very much aware that the greatest concerts my father and mother had done were there. I was sure people would be very tough.
It's nice that we have all these different films.
I didn't want to change my personality onstage, but I still had to build some kind of ego to be able to go up there. If not, there's no point.
I was very attached to my family when my father died. I was 19. I was about to go live with my father right when he died, so it was very intense.
My father loved me and he wanted to work with me and he didn't care what people would say.
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 thought people wouldn't take me seriously if too much acting was involved in the singing. But now I love the idea of mixing everything together.
I used to hate being recognised.
Before I started touring, I worked with someone to help me, even physically, because I was so shy. And you can't be shy going onstage. So I had to push myself in a direction that wasn't myself.
The English was really my mother, it was never me. Being the daughter of my father, I always felt very French.
