Podcast Appearances
And the first thing I did on stage in England was a Chekhov, which was The Three Sisters with Michael Blakemore.
The Racine that you did, which in effect is your introduction to the stage in French, how did that go down with the French critics?
Oh, I don't think it went down at all well.
I mean, the first night there were like seven people from one newspaper.
I think the person in Le Monde was very happy.
But I genuinely don't read reviews because there's no point because it's always going to be a nightmare.
If they're good, you're going to be waiting for the moment they all loved and I know I'm going to mess it up this time.
Or if they're bad, you're just too miserable.
However, people around you will always let you know
whether they're good or bad, somehow.
It's the way they can't quite look at you.
Or they come in with a beaming face.
And my children were incredibly upset.
My children and their cousins all wanted to write into the Figaro to tell them how wrong they were about their aunt and their mother.
In terms of the film roles, you've said in the past that you get frustrated sometimes by being typecast with that sort of ice queen, Aristo, English role.
But, of course, your breakthrough was in Four Weddings and a Funeral.
You identified a future partner for life yet?