Back then I didn't think a woman like that, or a relationship like that, could exist with complete freedom and no jealousy or possessiveness. I thought it sounded too good to be true and I was certainly convinced it wasn't the life for me!
I learned so much from other actors and they definitely didn't treat me like some sex bomb or bimbo. I felt fully accepted in the regular movie world. I didn't feel categorised.
I still have agents in France, Los Angeles and Amsterdam who call and suggest parts. I'd love to keep on doing both painting and acting until the end of my days.
The film was made in 1973. It was a golden time for people to experiment without risking, for example, AIDS. Today one has to be so much more careful and I don't think a character like that could exist now.
When a new generation watches the films, people might mention that it has improved their lovemaking. I guess it's because it isn't threatening. It was very sweet and delicate.
Of course it's difficult to top a box office success like Emmanuelle, so it will always be my most important work. But that's nothing to be ashamed of.
As a painter you're responsible yourself, 100 percent. In film, you have the editor, the director, the other actors. It has the advantage of not being solitary.
