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Low self esteem dating

They saw an actress who, at the age of only 21, had already worked with Roman Polanski, Wim Wenders, Francis Ford Coppola, Wolfgang Petersen and Marcello Mastroianni.

I am so good at what I do that people can tell me a very small nugget of their story and I can provide deep insight into what’s going on, even able to tell them what happened next before they do.

I am frequently asked if I know the person they’re talking about, whether I live inside their head, and how the hell I know what I know.

Gesticulating fiercely, she paced up and down the Hollywood pavement, a blue-grey sleeveless Puffa jacket over her light-blue shirt, a large Louis Vuitton bag slung over her shoulder. I'm putting so much love and so much care and so much time. At 12, having been talent-spotted in a disco in Munich by Wim Wenders's wife, she appeared topless, and the victim of a grown man's half-hearted slap, in Wenders's Wrong Movement (1974); at 14 she played the young nun, writhing in lust, by whom the satanist Christopher Lee pined to have a child in To The Devil A Daughter (1976); at the same age she had the lead in Wolfgang Petersen's Reifezeugnis (1977), playing a schoolgirl who has an affair with her teacher; two years later she was, again, a naughty schoolgirl in The Passion Flower Hotel (1978) – "I'd like to find every copy of that film and burn them" – and, that same year, she appeared naked with Marcello Mastroianni in the execrable Stay As You Are. "Let's put it this way,' she says: 'If that was my daughter, I wouldn't allow that. ' Tess (1980) – a reverential, three-hour-long rendering of Thomas Hardy's Tess of the D'Urbervilles – was the film that turned Kinski into a full-blown international film-star, and Polanski her mentor: "He would be very strict with me and send me books, and send me to school. I would like to say maybe three months, but it seemed longer. I made great relationships with the other girls who were in there and at night I had all this time to think. (Though she doesn't mention it, Aliosha and Sonia have been the subjects of three court decisions; at one point, Moussa took them to Egypt to see their sick grandfather without telling Kinski.

She was agitated, and she was emphatic; later, on her knees before the photographic shoot, she continued her impassioned dialogue over the mobile, urgent and distraught: "I don't want to hear this," she said, "I don't want to hear this. I wouldn't allow certain people to say certain things or to try certain things." "And people did try since I was very young and they do it with all kinds of young girls. And then when we did the movie he said, "I really want you to do this for me, because I wanted to do it for my wife [the murdered actress, Sharon Tate], and it means so much to me. It was hard, but it was a hard I could deal with: I didn't mind getting out, but I didn't mind my time there. Subsequently, he was not allowed to see them without her permission.) Sadly, though, for a woman who speaks so yearningly of 'family' and her desire for a 'family base', she is, in effect, a single mother.

She and Jones are no longer together; their relationship, however, is "fine".

Still, many actresses have children when they're 23 and pursue super-stardom as relentlessly as they did before their pregnancy. "I never had a family," she says, "and what I always wanted was my family.

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So, I say to Nastassja Kinski, tell me about that story I've read about you and Paul Schrader, your director on Cat People (1982); the one in which you break off your romance with him and say: "Paul, I always f- my directors. "Give it to somebody else – it's not mine." The German-born actress laughs, as she often does.

She decided to go another way, she chose a different life from being with us." Biggi was against Nastassja's marriage and has rarely seen her daughter's children. Before our interview, she had sat for more than half an hour, hidden behind the tinted windows of a black limousine, talking into her mobile. She has, she says, had bronchitis; she's on "big antibiotics"; she has a hacking cough; she'd have put all this off to a later date except, "I heard you'd come all the way from England." And so she sits by the pool of the Magic Hotel, off Hollywood Boulevard, and asks, sweetly, for some herb tea, some juice and perhaps a muffin. Yet, in The Claim, she plays a tubercular mother in the California Gold Rush of 1849, coughing blood and allowing the British director, Michael Winterbottom, to shoot some unforgiving close-ups of her big-boned, big-lipped, big-eyed face. But she does, she accepts, have to survive; there are people who depend on her.

She is often referred to as a poet: 'She does write, and I think her poems are beautiful. At length, the car door opened and she appeared, the Motorola Nextel still clutched to her chestnut-brown hair. Hers is, though, a grown-up role, maturely executed. Benignly, one fan site on the internet hymns her as 'an anima woman, a goddess archetype as old as mankind, embracing something deeply embedded in our collective unconscious.' More cynically, the voluptuous mouth and grave young eyes Kinski displayed as a pre-pubescent were used to turn her into another archetype: the child-woman. Indeed, she talks often of her children; of how crucial it is to work at being a parent; of how it is her business to keep them safe and to protect them – "that's all I can say".

Baggage Reclaim is read in more than 130 countries, with Reclaimers from all walks of life. I’m based in South East London in Caterham with my husband Em, and our two daughters and cockerpoo.