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She is tiny, five-foot-nothing, wearing jeans, brogues and a T-shirt, the only vestige of her stardom being a Prada bag in the corner of the room. “But the good thing now is that you can be forgotten very quickly,” she says, brightening.

She has a goofy, endearing laugh that is like a drain and entirely at odds with her fine, elfin beauty. The actress has fond memories of her early career; times were far more innocent than they are now. “You know if you stop working for five years you are done. So I think that is reassuring.” She hasn’t worked for a year and a half now, and though she is about to start shooting a film with Bérénice Bejo, the award-winning star of The Artist, Tautou seems to prefer the medium of theatre.

The subject of boyfriends is off-limits, though she does tell me, with a dirty laugh, that “for a couple to last you need an honest camaraderie and solid eroticism”. Before we part company we talk a bit more about Mood Indigo, which was based on a book, Boris Vian’s L’Ecume des Jours, a cult classic in France. Europe has been a place of battles and political intrigue for centuries.

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“Well, I can’t say I use this kind of vocabulary,” she says with a laugh.

And after that, I really decided to keep it quieter.” She mimes zipping her lips. I let the wave go and I refound my life slowly.” If Amélie had happened now, in the age of social networking, “I would have moved to the moon.” Again, that delightfully gawky laugh. But I am a very independent person so I don’t need someone to carry my bag.” Tautou was born in central France, the daughter of a dental surgeon and a teacher. And I get the impression that eight years old is exactly the age Audrey Tautou feels most of the time. To read more from Stella magazine, visit The Big Short, the film adaptation of Michael Lewis' book of the same name about the causes of the financial crisis, opens in UK cinemas this weekend.

“If I had had to live my life on the internet like that…” Tautou shakes her little head. She has a brother and two sisters and sees them a lot. “I am very attached to this idea of family,” is all she will say. “...destroy the traditional ceremony of film-making. How will the story stack up against the greatest films about business?

” “You weren’t like this when you were younger,” he says to Tautou’s character.

“But when I was younger I didn’t know what I wanted,” she replies.

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