Charlotte Rampling Quotes
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If words don't have vibration behind them, and a real feeling behind them, then they're just words.
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I started writing diaries, and mine were horrible. Oh, the monotony. Oh, the angst. I said, 'I don't want anyone to find these!' I destroyed them.
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Training is fabulous because it gives you a basis, a strong structure, so that when you're unbelievably nervous and you think that you can't get a word out, you will get the word out.
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To grieve is something extremely difficult, we don't even know how to begin to grieve, and I don't know how you can be taught to grieve.
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My mother's incredible diaries, which she'd written from when she was 21, and even before that. She fell in love with my father when she was 12.
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I think the happiest time of my life was when I was in my late teens. I was a little bit of an it-girl. Making myself seen. And it was a wonderful time to be young.
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I don't want to play everything. So I'll seek out roles that I'll say, 'This is edgy. This is fun. This is wicked. This suits me.'
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It's sort of fun. If someone's eyeballing you, it makes you feel good.
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Doing cinema is not about watching yourself.
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I know I have great inner strength; I always have. I can blank things out, cut people out, and I know that I can go and live in a cave on my own if necessary.
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Go out there and try on everything - short skirts, long skirts, mid length, little jackets, men's clothing - and really look at yourself; really walk around in the clothes. Don't just take someone else's advice. You must feel you in these clothes and feel what it's like to live in them.
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I am actually a very unspeaking person. I'm not really good in social situations. People expect me to be more outgoing. I don't know why. They think I have this kind of assurance.
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I felt very special in Paris, more special than I felt in London. I love London for different reasons. I've always been close to London, being English. But somehow, there's something special about living as an Englishwoman in Paris.
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For an actor, if you're not doing a job, you can't just practice acting. Your instrument is your whole person.
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I am fascinated by the whole process of what it's like to be alive, whether it's unbelievably uncomfortable and horrible or whether it's quite nice.
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I could have carried on in comedy. But my life was dark.
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I was very friendly with Jimi Hendrix because my boyfriend at the time, Tommy Weber, was making a film about him, so I would go to all of his shows.
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We must be very careful when we say that somebody giving you compliments about your looks should be offensive. I think women really should look at why they're being offended by that.
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I could have been a superstar in America - I was certainly taken out there. But I said, 'No way, Jose, I'm not staying here in this madhouse.'
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I've played the wicked mothers; I've played the serial-killer-type mothers now. They have to have an edge on them. They can't just be everyday moms, because I never thought of myself as an everyday person in cinema - I'm an everyday person in real life, like anyone. But not in what I project out there. I want something more exciting.
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What I am doing is not acting. I am playing myself.
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French women have been made beautiful by the French people - they're very aware of their bodies, the way they move and speak, they're very confident of their sexuality. French society's made them like that.
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The '60s in London obviously brought about the explosion of music, the 'Beatles' especially, and then the 'Rolling Stones' and other forms of music, and then fashion and photography and films - kitchen-sink dramas we called them at that time, which was our 'nouvelle vague' in Britain, films that talk about real life.
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If you want to paint the inner life, you paint it from the exterior. From the exterior, you breathe the inner life into your painting.