The process of filmmaking is very musical, you get into the rhythm and the rhythmics of how someone is, especially with Woody Allen who is very much into body language and body movement.
I've always been monogamous - [within it] I've been in love with people, but very platonically. For me, monogamous love is about learning how to be able to trust someone completely; so you need to be able to think you can trust them. But that doesn't mean you can't have extraordinary feelings for other people and not feel guilty about them, but not necessarily go and wreck marriages and consummate, and you don't have to do all that.
I think you have to earn beauty. You can use it or abuse it however you want when you`re young. It`s a God-given gift. You have a visiting card - you can go into any room and someone will come and talk to you. But I`ve always thought from very early on that you have to be careful with that - not being vain or narcissistic. Have fun, but don`t be obsessed with it.
What beauty brings is huge. It brings great privilege, great power and potential to do many things. If you are beautiful, doors open for you; people smile at you; you are accepted in places where others aren't. So the relationship that people have with beauty, in a sense, is almost deforming.
When I moved to Paris in the '70s, there wasn't very much going on in film in England. So when I started doing French films, there was a natural movement toward the kind of films I wanted to do. It wasn't the reason I came, but it so happened that I stepped into a time and place that actually corresponded to what I wanted. That sometimes happens in life. And it was rather beautiful.
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