[on her models for the Peppy Miller character] I connected very much with all the work of Joan Crawford because she started as a flapper. She used to dance and sing and she was very cute. She had something that was so different from what she is at the end of her life and she started in the silent movies and then went into the talkies. I thought the energy she had in the movies was something that Peppy should have. I loved her in Grand Hotel with John Barrymore and the way she would move her body, how she smiled and moved the eyes. She was very much someone I really looked for. And then, Marlene Dietrich for the way there was something so unique about her - the way she entered into a frame and everybody looks at her and the way she winks and looks up. I Googled her and looked at all the ways she winks in movies, the way she poses and takes her time talking. That was something very important to me, I think, in order to find and portray the character accurately. And then, I read Gloria Swanson's autobiography just because I wanted to know what it was like in the time. I think she's an amazing woman and I think Peppy is an amazing woman too. She's very modern and Gloria Swanson had that. I think those three women were very important to my work.

[on the difficulties of acting in a silent movie] I think the approach of the character for us is the same in a silent movie as in a talking movie because we had balance, we had lines to learn. Actually the challenge is more for Michel [Hazanavicius] who has to tell the story without any sounds or dialogue and just images. But, for me, I worked the same. I tried to find a character and how I would be an American actress in the 30s. But if this was a talking movie, I'm sure she would be exactly the same for me.

I was the one who was more grounded during the [2011-2012] Oscar season. I had just given birth. I knew I was going to lose every award. And that, I think, helped us to stay normal. It's important not to feel too cute. Do you know what I mean? Not to like the image of yourself too much. It's a joke. It's play.

[on Michel Hazanavicius] Michel changed my life. And I think I changed his life too. Writing the part in The Artist for me, it was a gift. But I think I was really good in the movie, I tried my best. I gave back what he gave me.

[on working with Asghar Farhadi on the set of Le passé (2013)] When I say he's bossy... maybe that's not the right world in English. He just directs everything, he's in control of everything. If he controls everything so he has control in the image, then you can do your job. That's why I'm saying he's the boss -- he's making sure your look is the right look for Marie, so he's very controlling of the costume designer, your hair and makeup to help you to look tired. So the only thing you have to do as an actor is say your lines and feel them, that's it. When I say he's the boss, he's just doing his job, which makes you feel more secure, because you don't have to take charge of the telling of the story, he's in charge of that and doing his job as a director.