Christine And The Queens Quotes

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I don't remember my 20s as a good place.

Queer is about intense questioning that can't be made nice and glossy.

For some people, it's impossible to escape binaries.

It's always odd to me when people say, 'Where does Heloise finish and Chris start?' It's the same thing. I'm just putting a theatrical form to my expression.

Festivals are happy places, and you don't really want to enjoy them on your own.

I love trying to match a really hard expectation.

My whole life is queer.

I'm kind of resistant to being told no, not being wanted. It fills me with energy.

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.

I've always been the one who is more enthusiastic about Christmas than my family. I regress to a child state, chanting carols.

I'm kind of an obsessive person, and touring is repetitive in the best way.

The success of the first album was almost an anomaly, and it could remain a fantastic anomaly. It was not crafted for commercial success. I remember meetings with my label saying it had no radio singles. For me, the second album was a gesture of independence.

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.

The gender question has always obsessed me.

In real life, I feel tiny and quite embarrassed all the time. But when people come up to me in France and want to talk to Christine, it's okay. It's cool. Because they're really talking about themselves, their own Christines.

Male rock stars are sexy because they desire you first. I want to be like that.

That's part of what made me interested in theater as a kid. It made it acceptable to be a man for an hour onstage.

I invented Christine as a survival technique. I was inspired by the idea that everyone could have a Christine inside to wake.

I wanted 'Comme si' to immediately indicate that something changed in my life, mainly because I became the hero of my own desires instead of just dreaming about them.

When you write, you don't really think of how honest you are being - it's only when you record that you understand how much of yourself you're giving.

No matter what you eventually become - free, empowered - the lingering feeling of 'once an outsider, always an outsider' is very vivid for me.

I have Googled so many things related to possible diseases, and it's always ridiculous. Like, 'My toe is hurting. Do I have cancer?' 'I have a scratch in my eye. Am I going to die soon?' 'Is eating a soup going to make me die?'

I love funny women.

I'm terrified of dying because of everything being too unfinished. I would be happy being a ghost.

When I have to take phone calls, I start to sweat and panic. Being on the phone is so weird - hearing a voice without seeing the face so you can't really know the intention behind the voice.

I've always been obsessed with being on stage and putting shows together.

That's pretty much how I feel on stage, like I can let go of all kinds of baggage, or even disappear and change outfits. I want to remind people that they can grant themselves the license to do the same.

Typically, in France, someone in my position should keep their mouth shut. I'm an entertainer, operating in the realm of pop, and it's often looked down upon for a pop artist to take a stand, to have convictions or opinions. But I don't think the two are incompatible or mutually exclusive.

I've always really been interested in observing people's postures, the way they speak with their hands, the way they communicate things with their body language.

The way I dress definitely helps me embody and actually change my way of behaving and feel more confident.

I think I used Christine, who is my stage character, as an excuse to finally be myself, as if I needed to say, 'Oh this character is going to be the woman I wanted to be.'

I always knew I wanted to be a woman in men's clothing because I just feel good like that. I feel like I'm taking a different space: I move differently; I'm more at ease.

There are lots of ways to be a feminist. Beyonce, for example, is a beautiful example of feminine sensuality and is still really powerful. My character and my inner essence is more like an awkward 15-year-old boy, like a teenager backstage, like, 'Yeah, what's up?' That's what I'm trying to channel.

I always wanted to be Romeo, not Juliet. Romeo is a much cooler way to be - Juliet's just up in a balcony, waiting.

Every masculine hero narrative I could find I wanted to steal for myself and twist to my size.

The core of all the music I love is a good bass line and a good rhythm.

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.

I remember writing '5 Dollars' out of intense listening sessions of Bruce Springsteen. I don't know if it's obvious, but I was obsessed with how limpid Bruce Springsteen's melodies are: It's such a great way to do storytelling and to still be melodic and catchy.

Christine and the Queens is born out of a particular moment in my life where I was quite low.

I think 'Chris' is way more about that, about living desire as a force of chaos and about reveling in that chaos.

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.

I enjoy this confusion. Heloise? Christine? Chris? Maybe I will be called C at some point.

I love the idea of constantly altering yourself.

I remember studying so hard for so long and saying to my parents, 'I will be a teacher.' And they were looking at me like, 'Girl... you just want to be on stage. Stop pretending.' So when I chose to do music, they were relieved. My parents were more intelligent and lucid than I was.

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 use Twitter to be my best self: fun, dateable. I don't get paranoid with Twitter, only in real life. I write so I feel comfortable, not speaking.

I trust people who look like animals.

When you dance, you own everything you have. You are really in your own body. You do it with your muscles and your bones and your weight and your height - it's how to love yourself by moving.

Basically, when I like a song, I have to dance.

I know that a song is working when I can properly dance on it.

When I thought of Christine at first, I was really angry with everything that was given to me as a young girl.

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.

The first album was a coming-of-age album - I don't like the phrase, but when you listen to it, you can tell I was having a hard time, that I wasn't socially relating to people.

I've experienced being properly lost in my desires, and it's really influenced my writing.

There's a lack of ambition in politics in terms of what we expect from the government, what it means to have a state.

I'm often lost in my dreams.

When I was young, I would write all the time. Novels, plays, and poems. It's like a disease - my life is filled with fantasies, and I have to write them all down.

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.

Before I created Christine, I was actually really girly. Maybe I was trying to hide something, but I was trying too hard to be a girl, and I didn't know what it meant. I was afraid of being myself.

For me, everything is a performance.

I wish I could change bodies and destinies.

Fashion is a way to transform yourself. By choosing your own silhouette and shape, you can constantly change who you are.

I'm kind of obsessed with Bruce Springsteen - the T-shirt and jeans look for me is appealing. Prince was great as well. He designed all of his outfits himself and looked exactly how he wanted to look. He was in complete control of his image.

For me, the male gaze is oppressive. And I hope if we are building a female gaze that it's inclusive, and it's about pure desire and not how I want people to look in order for them to be desired by me.

I'm not trying to brag, but if I did expose my life, it would be a good YouTube series.

No one can escape politics. We are all in it. Even if we shy away from it, I just decide to embrace it. And I try to be an ally for other fights.

My words are my sword.

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.

If I want to say I'm a man for three minutes, then be it: I'm a man for three minutes.

I'm just drawn to hands.

Gendered performance is just constant theater.

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 love when I dive into lyrics that give me human complexity and intricate narrative.

I'm a huge pop music lover. I do love the immediacy, the organic fever that happens when a pop track is so infectious.

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.

Sometimes when I travel, I like to find things that relate to where I am.

I love Lou Reed because his voice sounds like your inner conscience.

When I read a book, it's Lou Reed's voice narrating it.

I see theatre everywhere, actually. We're all kind of performing a version of ourselves every morning by choosing the clothes and how we appear - but the stage is so emphasising that I really feel comfortable in it.

You have to work with your body when you dance; you can't shy away from your physicality. For me, it's really linked to an incandescent way of accepting yourself and projecting. The dancing was at the core from the beginning.

I invented 'Christine' as a survival technique to deal with many things. I felt it would save me.

When I started to write music, I desperately wanted to relate to people. But when I became famous, I could relate less. I thought, 'Oh, am I trapped in my own creation?' I was really lonely.

Sometimes, in my adult life, I have memories of when I was young and really scared of being too close to people.

I'm in love with artists that are really difficult to cover or to copy. You can only try to copy them, but you will never succeed because it's intertwined with really personal references and really personal ways to exist on stage. They are really strong individuals, and are writing their own songs and know where they want to go.

It's the strong will of an artist that really inspires me.

I love sensual women like Beyonce who are very empowering and sexy at the same time, but if it's not what you want to do then you have to say no.

In theater, what I loved were wordless plays and working in silence.

I'm not a pop star. I don't feel like one. I'm always joking that I'm actually an eight-year-old boy dreaming about being a pop star.

I love people who go on stage and blossom like a weird flower.

On stage, I feel like I'm invincible, like nothing bad can happen. I can be myself. I feel like I shrink when I'm off stage.

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!

I remember growing up and feeling all the time not pretty enough, too rude, too loud, taking too much space because precisely I wanted to maybe be bossy and loud and unapologetic and not really smooth all the time, and those were not really qualities that were valued for 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.

I love people that are question marks. I love people that don't have answers and are just trying to cope with it. I love people that just don't tick boxes. There is a grace in them I can't really find elsewhere.

Every time I think about a girl to motivate me, I think about Grimes. She's one of my heroes.

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.

Music is contagious and everywhere and democratic, and that's what drew me in. I was interested in acting and being a director, but one of the things that bored me about theatre was that it was not accessible to everyone.

Christine and the Queens is about not being safe.

When I take risks, I win. When I do the safe thing, it's a disaster.

When I was young, I took classical ballet lessons, but I wasn't very good at it. It was really frustrating because I wanted to be good at it. When I stopped having lessons, I began to dance and improvise, and I felt more comfortable.

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