Photo: Sony Pictures Classic
Q: What was it like working with Audrey?
AN: It was a huge relief to me that she had put herself in the same situation I had, a couple of years ago, with the Stephen Frears movie and The Da Vinci Code, and she was totally sympathetic. I remember after the first day, she said, "I know it's hell, but it will get better." That was a big comfort to me. She was so well suited to the role. She has this aristocratic presence, and she's got these incredibly fine features, and she's so delicate, but she's a really tough girl, and really bright, and opinionated, and knows what she wants, and demanding of quality. Just the opposite of what you think of this fragile little creature. I just think the world of her, and I am so grateful that she was able to identify with me a bit, in the experience of acting in another language.
Q: What statement is the film making about finding one's voice?
AF: You think that very famous people always dreamed of being what they are famous for, but Coco couldn't imagine [making clothes]. Even when she was very famous, she went to Isadora Duncan's house and she said, "I am not an artist—I am an artisan." She felt frustrated, in a way, but she has so much talent. You can find your vocation at any time, and you are not aware that it's going to happen. I like this idea in life.
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