Article translation:Madame Figaro du 8 décembre 2007.
After seeing you so at ease in your Armani wardrobe, one could easily take you for a fashion icon…
Some designers make me exhilarated – those who know how to transcend fashion and go beyond. I think of course about Giorgio Armani, to whom I am faithful since the beginning. Beside, to me, Armani has very plainly become an adjective to qualify excellence.
I also love the dialogue that can occur between an actress and a couturier. Younger, though, I did not have any particular link with fashion, contrary to my sister Genevieve who was beautiful and had worked as a model before becoming an architect. I looked up to her with admiration…
But you are considered a beauty…
I have never been beautiful, but I am an actress of composition. My face has plainness to it, hence it is changeable. In the past people would often stop me in the street: “Were we not in school together?”, “You look just like my cousin”. Beauty is of very little importance to me, and I don’t mind appearing far from conventionally seductive if the role calls for it. The most beautiful compliment one can make me is to tell me I have an ‘actress mug’. But I hope my definite asset is my mind…
How do you navigate from one incarnation to another? And should we see you as a cerebral or physical actress?
I have even read myself described as an ‘organic actress’. I no not know what that means; and trying to understand what is the essence of an actor performance is both exhausting and useless. I see myself as instinctive: at some point my reason doesn’t command anymore. But everything remains relative, of course. First because instinct is not sufficient if it is not sharpened with basic technique: an actor must know how to work his voice, his body and his text to appropriate it. Second because I do not become a character but it is the character that comes to me. Another psychological clue: avoid at all cost to fall in love with your character, in the same way that it is a bad idea to become infatuated with your analyst. (She laughs.) You must not let yourself be complaisant with your character, the danger would be too great to becoming sentimental and go astray. It is the audience who must judge.
In ‘I’m not there’, you play Bob Dylan, a man. Isn’t it an insane wager for an actress?
Of course I was terrified when I agreed to do Todd Haynes’ movie, but I like the idea of taking risks, even if the bravery of an actor is something very relative. The challenge had on me a totally liberating effect: I went all the way. As a result, I felt very at ease in this movie that is nothing like a traditional biopic. Is it even very innovating, since several actors play the many sides of Bob Dylan, an ever evolving artist. As for playing a man, it did not strike me as impossible: maybe because of my great stature, I have sometimes been asked to show my ‘male side’ when I was beginning in acting school. Finally, this has very little importance: what is interesting for an actor is the exploration of human beings without caring for gender and avoiding common places. It also evokes a strong Shakespearean theme.
Some designers make me exhilarated – those who know how to transcend fashion and go beyond. I think of course about Giorgio Armani, to whom I am faithful since the beginning. Beside, to me, Armani has very plainly become an adjective to qualify excellence.
I also love the dialogue that can occur between an actress and a couturier. Younger, though, I did not have any particular link with fashion, contrary to my sister Genevieve who was beautiful and had worked as a model before becoming an architect. I looked up to her with admiration…
But you are considered a beauty…
I have never been beautiful, but I am an actress of composition. My face has plainness to it, hence it is changeable. In the past people would often stop me in the street: “Were we not in school together?”, “You look just like my cousin”. Beauty is of very little importance to me, and I don’t mind appearing far from conventionally seductive if the role calls for it. The most beautiful compliment one can make me is to tell me I have an ‘actress mug’. But I hope my definite asset is my mind…
How do you navigate from one incarnation to another? And should we see you as a cerebral or physical actress?
I have even read myself described as an ‘organic actress’. I no not know what that means; and trying to understand what is the essence of an actor performance is both exhausting and useless. I see myself as instinctive: at some point my reason doesn’t command anymore. But everything remains relative, of course. First because instinct is not sufficient if it is not sharpened with basic technique: an actor must know how to work his voice, his body and his text to appropriate it. Second because I do not become a character but it is the character that comes to me. Another psychological clue: avoid at all cost to fall in love with your character, in the same way that it is a bad idea to become infatuated with your analyst. (She laughs.) You must not let yourself be complaisant with your character, the danger would be too great to becoming sentimental and go astray. It is the audience who must judge.
In ‘I’m not there’, you play Bob Dylan, a man. Isn’t it an insane wager for an actress?
Of course I was terrified when I agreed to do Todd Haynes’ movie, but I like the idea of taking risks, even if the bravery of an actor is something very relative. The challenge had on me a totally liberating effect: I went all the way. As a result, I felt very at ease in this movie that is nothing like a traditional biopic. Is it even very innovating, since several actors play the many sides of Bob Dylan, an ever evolving artist. As for playing a man, it did not strike me as impossible: maybe because of my great stature, I have sometimes been asked to show my ‘male side’ when I was beginning in acting school. Finally, this has very little importance: what is interesting for an actor is the exploration of human beings without caring for gender and avoiding common places. It also evokes a strong Shakespearean theme.
love her in McQueen 
Thank you. 
