Well, I like the movie, it was the writing.
Because it was really an author's writing, it's not — you wouldn't speak like that in real life.
There was some kind of twisting to it and the rhythm of it, I liked it very much.
First of all, I was surprised to have this kind of writing to learn
and it took me awhile to really get it because there's sometimes a repetition of words
and so you are mixing, as you're learning because its a
it's slightly different, but not exactly different.
What I loved about the film was that it was talking about love and that's a subject I love.
But the fact that this woman is trying to find, in a relationship, a place where she feels
safe and sharing and happy.
So I was touched by that because I think she is quite innocent
in a way, the way she's going back to love, even though she's been treated not always well.
There's a sort of belief system in her that she wants to go back to and plunge into it no matter what.
Not only the film industry is a man's world.
I mean, we put the feminine on the side for a long, long time and it takes awhile to
be aware of that we need to go back to it.
And the best way is to make films because I really think it can help in changing people's point of view
and way of thinking.
I want to think that it's more the difference of...
because when I work with a woman or when I work with a man
I don't think of it.
I think of whether there's an intelligence there
that we can share, more than the feminine or masculine part.
So for me, it has to be more with the sensibility or the
perception of things and how we understand things together
or on the same kind of — we can be different, but there's a sort of
intelligence we can share.
My encounter with Krzysztof Kieslowski was very important because,
well, probably also because I have some Polish roots.
But not only that, because there was a lightness in the way of filming
and way of working together, that I really appreciated.
He was ...
He liked small things. I like that.
He didn't have the ambition of big things
just small things was enough for him.
and in that way, he told stories very well
because those little stories stayed in you forever.
So I like the sort of humility, it was ...
his approach to filming.
The only thing we battled a little bit about was that he wanted to do one take
and I wanted to do more than one take.
I don't think of the past that much.
Unless, you know, in interviews for example.
Also, because I think I've fully lived them.
I love present time, I think it's the key to be happy.
And I think acting is very much about the present time because you have to be there when it's happening.
Even though, before shooting, you recall things from in you, whether from the past
or your imagination or memories, whatever.
But... No, and I feel a little intimidated because when there's a festival,
or when you have a sort of competition like the Cesar,
which is a kind of Oscar we have here,
it's okay because it's related to film
and to a crew but when it comes to
a career kind of thing then it becomes a little intimidating and a little serious.
And I feel uncomfortable.
I feel like going away.
But, I mean, I'm super happy of course, because I feel very privileged.
You know, doing what I was dreaming of doing.
And loving it still, after 35 years of films and theater.
I think it has to do with ...
the search of truth.
And with different stories, different kind of situations, time-wise — whether it's a period film or in a social
kind of situation — there's always themes in a film that are going to interest you.
And that you can explore and understand why you are there and what you can do, what the best you can do for it.
So I never have this need of going back
because I think living it fully at the time is enough.
And you don't need more than that.
