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When I first got to Cannes, I was very insecure about everything, so I put on this extravagant facade. Can you blame me? I was 19.

There are a lot of people who do a lot of things to be outrageous with fashion, hair or makeup.

As for the world of fashion and celebrity, I have the usual interest in the human comedy, but the problems of depiction absorb me more.

I didn't go Hollywood on the outside with flashy cars, upstairs maids and mink-covered bathroom fixtures. I went Hollywood on the inside, and that's worst of all. I tried to avoid being natural. I lowered my voice. I copied the mannerisms of other stars. I struck poses.

I couldn't be an ingenue today, because the business has changed. I remember when you could dress for a premiere just by putting on a cute top. Now you have to be perfect and fabulous in every way, or you're ridiculed.

I like wearing beautiful clothes, but that does not translate into my work. People don't like to see me as a glam doll in my movies. My audience and the media love me with two different perceptions. It's a strange, crazy situation.

And I was victim to that very early in my career, where I would go into auditions, and I'd be wearing a big T shirt, a big baggy T shirt and loose jeans. You know, to try and show people that there was more to me than just that.

If you approach Cannes with a sense of humor, nothing is that bad. You have to take it for what it is; otherwise, it's silly.

So for me, fashion was about standing out as an individual - and it helped me get the attention that most people try to get with publicity stunts or by doing other crazy things. But I just let the attention come to me naturally, and I think some of that has to do with my fashion.

In the beginning, when you're acting in amateur theater and off-Broadway, it was unheard of that anyone else would get your costume. And it was important to get a good costume. You put time into that.