When I thought of Christine at first, I was really angry with everything that was given to me as a young girl.
Christine was me wanting to break free. I was tired of being prissy and shrinking and apologising all of the time, so I created a character that could be daring for me.
The character I've created, Christine, is mainly the first attempt for me to escape all the secret injunctions we have as girls all the time. Like, be pretty but be polite. Don't take too much space. All those things that didn't mean anything to me. I just decided to turn them around with my character.
I think, from the beginning, I was healed and inspired by queer culture, and Christine and the Queens, as an idea from the beginning, is queer because it questions the norm.
I invented 'Christine' as a survival technique to deal with many things. I felt it would save me.
Christine, as a stage character, is just a way for me to be more daring, to be more out of the box, to be stronger and to use everything that could weigh me down like a fuel, like an energy.
Christine and the Queens is about not being safe.
I'm going to redefine what it means to be sexy, and it's going to be creepy as hell. Because I could never do the 'sexy' way of being sexy.
When the image that I built around the first album was crumbling, it was scary: the risk pays off, but the resonances of that risk are not always easy to deal with.
I broke up with my first girlfriend because I was out of love. I was crushing so hard on her for a whole year, and I finally I got to be with her, and the interest vanished. I'm a terrible person. I was 17, and she was in my class.
I wish I could change bodies and destinies.
I have an obsession with haters: the great mess of the Internet expressing itself. I love to type my name on Twitter and read everything. It's always enlightening to see what they hate about you: I'm not pretty enough to be on stage, or my music doesn't make any sense. It feels good to read that, like I'm heading in the right direction!
Because I'm experimenting so much with gender-bending and listening to everything that happens to me in terms of genderless energies, I have a hard time finding partners that can match me.
Dancing, for me, is like a second language. It's the best way for me to get out of my shell and be expressive in a very personal way.
Tapping into a more masculine, macho culture, I got in touch with my femininity, but differently. Macho culture is also pride of the body and showing it off - a relationship to theatricality, to construction. It's about owning your narrative again.
Festivals are happy places, and you don't really want to enjoy them on your own.
Grimes is the extreme version of doing everything yourself. I think this is impressive, because she is fiddling with things I couldn't fiddle with, all the technical stuff. I know what I want to do, but I wouldn't do it all my own, I would go crazy. This is insanely hard, to do an album by yourself. But I admire her for that.
Most people know Serge Gainsbourg's 'Histoire de Melody Nelson' album, but what's interesting is that in the early '90s, he actually went into a dark, weird phase that French people don't really like. They consider his music from that time weak. But for me, it's the best.
I don't remember my 20s as a good place.
I'm a huge pop music lover. I do love the immediacy, the organic fever that happens when a pop track is so infectious.
