I used to play a lot of foreign women in my youth because I was prettier then. I would go for interviews, and directors would look at these sultry, exotic looks, hear this clipped accent and think the two don't go together. So they would give me a foreign accent.

Because my career has been based so much on my looks, when I finally pass my 'sell-by' date, I think I'll probably pack it in. Unless I make the changeover into playing witches or something, I don't see what career I can have.

The trouble with some cooking is that the real flavours get cancelled out by the wine, cream, and butter sauces.

The ghastly thing about being a producer is that, once the curtain goes up, there is nothing you can do. At least when you are in it, you have some measure of control. If something goes wrong, you can maybe put it right. When you are in the audience, there is nothing you can do.

There should be no boundaries in your relationship with sound. Often it's not about the music itself but the context in which you hear the music. For instance, listening to a piece of classical music in a film you love often changes your perception of it entirely.

One woman told me that every time she wears Lanvin, men fall in love with her. Another told me she wore Lanvin to face her husband's lawyer because she felt protected. If I can make men fall in love with women and if I can protect women, I think I can die peacefully.

The cinema began with a passionate, physical relationship between celluloid and the artists and craftsmen and technicians who handled it, manipulated it, and came to know it the way a lover comes to know every inch of the body of the beloved. No matter where the cinema goes, we cannot afford to lose sight of its beginnings.

If you've ever had anyone in your life who has been struggling with something, struggling with addiction or struggling with anything, and it's about the resilience of love and how much you're willing to struggle with somebody to preserve your relationship and to try to preserve them as a person.