B.L. Is it an actor's dream to be in a Merchant/Ivory film?
L.C. Yes, yes! Did I say that too quickly? I'm a huge fan of their films and I have seen most of the films that they have made. I loved working with them and you are sure of an intelligent film, a wonderful script, wonderful décor, wonderful photography and great actors to play with. So it really was a privilege.

B.L. What intrigued you about your character Suzanne, and did you relate to her on any level?
L.C. Yeah, I have known that kind of woman. My grandmother had a little bit of that in her and I've known many of those women from high society. They are a little bit rigid in their behavior and very protectionist. They protect the family fortune, the family name and the social position and all of their possessions. So yes, I have known that kind of woman.

B.L. You got to work with a couple of up-and-coming young ladies who are going to be huge stars in Hollywood. What was it like when you met Kate Hudson and Naomi Watts and how did you like working with them?
L.C. I was taken aback because they have this freedom and spontaneity in front of the camera and towards their profession, which is something I certainly did not have. I understood after a while why they were so unconcerned by the responsibility of playing leads in a big film like this and that was because they were both born with the camera and films. Films were made on them in the backyard, they have been going to the movies since they were young and they have seen television so it's a normal way of expression for them and they are just naturals.

B.L. So you were very impressed by them.
L.C. Yes, I was.

B.L. What is that lures you back to the big screen? We last saw you in Chocolat, but you aren't making too many films — just the ones you want I guess.
L.C. I look at who is directing first of all. With Chocolat, Lasse Hallström who is also a great filmmaker, and when I did Funny Bones with Peter Chelsom it was the same thing. I was very respectful and impressed with their work. It was a thrill to do anything that they asked. I also felt confident that I could trust them to direct me well. I need direction—I am somebody who needs help—I never know which way I should play something. So I rely on the director a great deal.

B.L. How has movie making changed since you started in the fifties with your first great film, An American In Paris?
L.C. Nothing, I have to say nothing. I'm just pleased that it continues and I'm amazed that I am still wanted. I am absolutely thrilled. I get to play more interesting parts, although smaller ones, but I am absolutely amazed to still be in the profession and to still be working. I appreciate it very much.

B.L. Did anything else impress you while working on Le Divorce?
L.C. You asked me earlier about working with the two young actresses Kate and Naomi. Well, I have to now speak about the older actors, the professionals in the film like Sam Waterston, Stockard Channing and Glenn Close. That was a real thrill to watch those great professionals who were like me, in smaller parts and were so masterful and so clever with just a twitch of an eyebrow, or quick thinking and a lot of experience. They were absolutely wonderful and they only had small scenes but their presence impressed me immensely.