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.

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

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.

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.

I wish I could change bodies and destinies.

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.

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.

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.

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.

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.

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!

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.