When a subject pops into a director's head, you either fit in there somewhere, or you don't. An actor is only who he is. Especially as you get older, there's not as much of a range of potentially feasible parts.
I was incredibly fatalistic. I just thought, 'If it works, it works.' But I've always been like that. I've never been easily impressed, and I've never thought I didn't deserve something. If I got it, then I deserved it.
The '60s in London obviously brought about the explosion of music, the 'Beatles' especially, and then the 'Rolling Stones' and other forms of music, and then fashion and photography and films - kitchen-sink dramas we called them at that time, which was our 'nouvelle vague' in Britain, films that talk about real life.
If you were to find all the people I've worked with and ask them what they think of me, they're all just going to say, 'Oh, wonderful', and it'll just be a lot of blah.
I'd had a French education for three years, my father being in the army. From 9 to 12, I went to French school. I've been sort of part of the culture, part of the geography, since I was quite young - the imprint was there.
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.
We must be very careful when we say that somebody giving you compliments about your looks should be offensive. I think women really should look at why they're being offended by that.
