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That's why when Roman [Polanski] came along and gave me Tess, it was like. But the only way you can do the film is to show you'll learn the [Wessex] accent, so I'm going to send you to England for four, five, six months and when you come back we'll do the test."' Kinski passed that test, and Polanski 'gave me a lot of respect. He was a very severe person, in the best sense." Did she have an affair with him? I can say that I loved him, and always will." But there's always been this assumption that Kinski had slept with him. "No, he was one of the people in my life who cared, you know? When the writs came, she and her mother ignored them. And I think that after that I was really able to choose my life." But was she? This, she tells me, is what her long, impassioned phone calls are about; the agonies of bringing up an adolescent boy, and the huge support group of teachers, therapists, doctors - doctors! Though sometimes it's interesting to be really tired because, creatively, you think of things you wouldn't otherwise. Shot primarily on Fortress Mountain, in Canada, the film's snowscapes afford a terrible beauty. Hard luck; only I know what I mean by that." Only her? There's one more laugh, and one last crumble of the blueberry muffin.But in one, unusually tender, passage, he claims Nastassja came to visit him and two of his other children, and that 'she clings to me for help as if afraid. Still, it's an honourable failure and, for Kinski, a creditable display to add to her recent bisexual art-gallery attendant in Neil La Bute's Your Friends & Neighbors (1998) and her Chanel-suited Eurobitch in Chris Menges's The Lost Son (1999). And there are so many misunderstandings between people and me that I'd like to clear that up. The child-woman now has adult parts to play, and the lost child may, in her slightly spacey way, be coming to terms with her past. They saw someone whose father was the notoriously crazy, notoriously charismatic and unbelievably destructive German actor, Klaus Kinski. And that's why I feel that now I've done The Claim [her latest film] with all these wonderful actors, it's such a relief.They saw, too, a vulnerable soul whose father had abandoned her when she was eight – 'I've had such low self-esteem; well, it definitely makes you feel you're worth nothing when the parent just bales out." They saw a girl whose mother Biggi – herself just 19 when Klaus Kinski plucked her from a Berlin glove shop and injected her into a fantasy world of fast cars, dream-like villas on the Via Appia Antica and serial infidelity - was incapable of engaging with the real world and whom Nastassja was proud to support financially from the age of 12, when she made her first film ("Nowadays they'd call it enabling"). Because you can't always do things of such quality; I can't say that happens all the time. It hasn't – not for me." She's referring, here, to the eight years she spent, from 1984 to 1992, sacrificing her career on the tainted altar of second-rate Italian films.