Journalist: So you're with Daniel Craig again. How's that working out?

Eva Green: Well, I mean we - you know, as I said in the press conference - we don't really have a scene at all. Together. So..

Journalist: So you don't really feel you're in a Daniel Craig [film].. you work together again?

Eva Green: No, no not at all. I mean we see each other off the set you know; it's nice to know somebody. Those parts are very very great.

Journalist: But you'll be going back to the second Bond movie with him.

Eva Green: Well I still don't know.

Journalist: Oh. I thought that was all set up.

Journalist: You wear very beautiful costumes; do you think that when you wear costumes, you really transform into your role easier? What do you think?

Eva Green: Costumes? You mean in uh-

Journalist: -in this film.

Eva Green: I only have one costume.

Journalist: Oh really?

Eva Green: I don't know how she [Serafina] washes or anything like that. No, she has one costume; it's quite ephereal, you know, no.. quite flowing and ~inaudible~. Pre-Raphaelite actually. The costume designer [Ruth Myers] got inspired by the Waterhouse paintings.

Journalist: That's very regal.

Eva Green: Yeah. It's very easy; I feel very earthy when I'm wearing this costume.

Journalist: It seems the size of the movies you're in is growing bigger and bigger. The last time I saw you was Bond; you were saying that you were trying to share between big movies and little kind of.. are you managing to do that, or are these big productions overwhelming?

Eva Green: It's difficult to have a plan; to be "okay, hm, I want to work with, you know, Fernando Morales, whatever" or I want to do that, you know. But once I'm going to do a really tiny movie next, in er, July.

Journalist: In France?

Eva Green: In London. But you know, this catch [TGC] was great, it was great to be part of this incredible adventure.

Journalist: And your French career is between ~inaudible~

Eva Green: I wish I had a good script, but I haven't.

Journalist: Last time I met you, that was pre-Bond; now post-Bond. What has changed for you? Do you see any difference in the way that you're conceived? Is it always "Eva: the Bond girl"

Eva Green: I'm sure for some people I'm a Bond girl, but actually it's given me a lot of good. We live in a world where publicity is very important; it's good to be on the cover of something - sadly it works like that; so people want me for the movies. That's good, I'm happy to audition.

Journalist: If you had to choose an animal for your soul, what would it be?

Eva Green: A poodle. (laughter)

Journalist: You think so?

Eva Green: Yeah. A black poodle..

Journalist: A very pretty poodle.

Journalist: Do you have a pet?

Eva Green: Hm?

Journalist: Do you have a pet dog?

Eva Green: Do I have a pet?

Journalist: Yes..

Eva Green: I have a border terrier. A Scottish dog. A monkey.

BridgeToTheStars: I was wondering in the film when we get that sense of disparity between Serafina's age and her appearance; is that in the film at all? The fact that the witches- -She's 300 years old. BridgeToTheStars: Did that factor into how you played her at all?

Eva Green: Yes, I mean, she's very wise. She's.. and you see this love story with a man, with Farder Coram. She used to be in love with that man; they lived two years together and they have to separate for a certain reason, and suddenly she seems him again. It's very moving, it's very painful for both of them. He's eighty-something and she looks like she's 20 years old and they know they can't be together. Not only because of the age, but [because] she has to.. She belongs to the North and she has to live with the other witches; and she's the queen, she has to rule, she can't leave. It's quite moving and-

Journalist: How long did it take you to learn how to fly?

Eva Green: Oh, God. Two sessions a week for a month.

Journalist: Four months?

Eva Green: For a month. One month.

Journalist: For a month. And practically, what did you have to learn..?

Eva Green: To land, I had to.. it was the worst thing, because I hate flying so it's like imagining I'm going to crash. Each time I was like screaming.. But I got over it; it was difficult because I'm not very physical and I just had to learn to be more centred, more focused. Actually I tried to think of myself as a plane. It was quite weird, because you really had to do it to understand. Otherwise, I had to learn sword fights. Which was quite cool. And to fire arrows.

Journalist: To?

Eva Green: Fire arrows.

Journalist: Why do you think that in general, fantasy stories always.. many often, very often, based in England. Do you have any nice material, a story, that should be based in France? a French fantasy story? Should be made, is there a film? in your mind?

Eva Green: I've never been a big fantasy man, so I don't really know all the books. I don't know. French? I don't know French.

Journalist: Really? You didn't know anybody?

Eva Green: No.

Journalist: You didn't read at all.

Eva Green: I would like to use - you know those French fairytales, called ~inaudible~ [not a chance of transcribing French!]

(Confusion over French book title(s). Journalist tries to get Eva to write it down.)

Eva Green: It's completely absurd. It's on another level; I don't know why I mentioned it.

Journalist: You've never worked [on] a film with this much special effects and green screen and things before have you? or have you?

Eva Green: Green screen? Bits in Bond.

Journalist: Do you enjoy that? You say you're not a very physical person, so does that make it more difficult for you?

Eva Green: Green screen?

Journalist: That kind of acting - that's you know, there's nothing there-

Eva Green: It's not the most pleasant thing, no. I mean it's quite bright, the colours; it's like being on the moon, on another planet. But I had to act with human beings, so it's okay.

BridgeToTheStars: How did you get along with Dakota? Is it your first time acting opposite a child?

Eva Green: Oh she's very sweet. It was very easy for me because my character's quite maternal.

BridgeToTheStars: Yes.

Eva Green: I felt I was trying to put myself in her place - you know, "my god, it's a big role, my god" for her; so I was really trying to make her feel comfortable. She's very instinctive, very professional and she loves what she does. It went really well.

Journalist: How do you feel to be playing ~inaudible~ characters, because it seems to be very different from the other characters you've played so far.

Eva Green: In Kingdom of Heaven - I don't know if you saw the longer version - I had a.. the Countess Estella had some. I mean, I don't want any babies; I'm still a little baby. But it's always very beautiful; it depends what it's about, but.. I don't know. I like it; I can't explain why.

It helps me to talk because I'm very shy sometimes.

Journalist: How is this for you? I mean Cannes is a real pressure-cooker for interviews, publicity and things. Do you

Eva Green: Yes, I think. It's actually less intense than the Bond thing. We had very.. it was just a day of Bond together and ~inaudible~ still okay. It's not like.. The worst are, for me, the press junkets for TV. You know, 5 minutes 5 minutes we have 70 TVs to take. Urgh. You can't think.

Journalist: Wait until December.

Journalist: So, you don't like auditioning, Cannes, press conference, interviews. Are you a shy person? Do you like to be more ~inaudible~ ?

Eva Green: Yes. I mean I don't really like.. I've never been very eloquent, you know with scores [??] hugging gauze [??]; blushing or sweating when someone was asking a question. So that's good - I have improved, I think. But it's um.. quite weird.

Journalist: Is this harder than doing a movie?

Eva Green: Yes. Yes. (laughter) Different job.

Journalist: Did you have any doubt any taking on something that could be a franchise - three movies probably - presumably you're signed on..?

Eva Green: Yes.

Journalist: That's a big chunk of your life at this stage. Any doubts about that?

Eva Green: Um. I mean, I really hope the movie's is going to be very good. I think it's, you know, it's on the right track. It's such a beautiful, powerful movie - um, story. I'm not scared, no - and it's not all on my shoulders.

Journalist: Do you see it [the story] as an allegory for contemporary times? I mean, this subvertive elements: dogma-

Eva Green: Like the Magisterium you mean?

Journalist: Yes, yes. I mean the whole instituion.

Eva Green: The Magisterium can be associated with like a Communist system, you know, prevent people from thinking themselves. But this trilogy goes beyond all that. It's really about.. Dust - I don't know if you've read it - but it's very metaphysical, philosophical, about God - but not in a bad way; you know people love "oh my god, it's anti-Christian." It's not at all; it's highly spiritual.

Journalist: For a film that aims to be so ~inaudible~ like this one, did you feel any pressure put the issues like not being anti-Christian, not being anti-dogma, not being ~inaudible~ onto the production axe?

Eva Green: I don't know. I don't know. I can't answ-.. I don't know what's it's going to be like. But um. Religion is present, you can't avoid it; it's going to be there; people are going to be "oh my god." You don't know. It's a very tricky subject. Chris [Weitz] can answer that. I don't want to.. say something bad.