To grieve is something extremely difficult, we don't even know how to begin to grieve, and I don't know how you can be taught to grieve.
I know I have great inner strength; I always have. I can blank things out, cut people out, and I know that I can go and live in a cave on my own if necessary.
I remember my father saying to me once, 'I finally know how to describe you, Charlotte. You're prickly.' And he was right - prickly is a very good description. If I had to be an animal, I'd probably be a porcupine.
Fashion is not trivial. It's a huge industry and a big part of our lives. Fashion is about us - how we look and present ourselves, how we can change ourselves, and our perceptions. You can dress up to be quite glorious creatures - it's all a very important part of life.
If you want to paint the inner life, you paint it from the exterior. From the exterior, you breathe the inner life into your painting.
If words don't have vibration behind them, and a real feeling behind them, then they're just words.
Ever since I was a small child, I've had this feeling - it's in my nature, and so it's not even pretentious - that if everyone's going one way, I will go the other, just by some kind of spirit of defiance.
If you don't have a certain amount of stage fright, then it's not going to be that interesting. It's not going to have the inner vibration. I think screen work needs inner vibration.
I am fascinated by the whole process of what it's like to be alive, whether it's unbelievably uncomfortable and horrible or whether it's quite nice.
I did that film just so I could kiss Robert Redford.
I must explore desert ground and see what can grow. But there are limits. I know in my heart what I would never do.
I'm very flattered to be called a style icon! But it's simple, my style; it's just men's suits and shoes. That's the basic premise.
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.
I've played the wicked mothers; I've played the serial-killer-type mothers now. They have to have an edge on them. They can't just be everyday moms, because I never thought of myself as an everyday person in cinema - I'm an everyday person in real life, like anyone. But not in what I project out there. I want something more exciting.
My style very much leans towards the masculine, but I think I am feminine in it - I like the feminine body in masculine shapes. The androgynous look suits me.
Painting and photography keep the creative channel open, and for an actor, it's to keep alive, it's to keep awake, it's to keep watching, it's to keep feeling, it's to keep enjoying, to keep that sensuality of feeling alive.
Quite often in life, when a tragic event arrives it becomes a springboard for mirroring all other things in one's life that one hasn't come to terms with.
Training is fabulous because it gives you a basis, a strong structure, so that when you're unbelievably nervous and you think that you can't get a word out, you will get the word out.
For an actor, if you're not doing a job, you can't just practice acting. Your instrument is your whole person.
I don't want to play everything. So I'll seek out roles that I'll say, 'This is edgy. This is fun. This is wicked. This suits me.'