Charlotte Rampling Quotes
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One mysterious person looking at another mysterious person equals what? Another mystery.
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I'd had a French education for three years, my father being in the army. From 9 to 12, I went to French school. I've been sort of part of the culture, part of the geography, since I was quite young - the imprint was there.
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I think the reason I have secrets is because there are a lot of things I haven't been able to let out, and I'm able to let them out through the screen and this medium.
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I remember my father saying to me once, 'I finally know how to describe you, Charlotte. You're prickly.' And he was right - prickly is a very good description. If I had to be an animal, I'd probably be a porcupine.
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When a subject pops into a director's head, you either fit in there somewhere, or you don't. An actor is only who he is. Especially as you get older, there's not as much of a range of potentially feasible parts.
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A lot of young actors will do a scene and then run off and look at themselves. I don't believe in that at all.
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If you don't have a certain amount of stage fright, then it's not going to be that interesting. It's not going to have the inner vibration. I think screen work needs inner vibration.
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When I see a young girl, I can see why you would be attracted if you were a man. I remember when it was like that for me, too, and it was nice.
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Fashion is not trivial. It's a huge industry and a big part of our lives. Fashion is about us - how we look and present ourselves, how we can change ourselves, and our perceptions. You can dress up to be quite glorious creatures - it's all a very important part of life.
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A film based on a jolly good John Grisham book is fine, but I like to get a bit under the skin.
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I did that film just so I could kiss Robert Redford.
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You can never really judge your work because once it's done, it's done.
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You decide to give your trust over to somebody. And if you don't decide to, then for me, it's really not worth going into collective enterprises; you should just work alone.
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Quite often in life, when a tragic event arrives it becomes a springboard for mirroring all other things in one's life that one hasn't come to terms with.
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I haven't got ambitions. Actually, I'm determined not to die until I get very old. I want to be a great-great-great-grandmother.
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When people want to see your film, you're over the moon because you've actually made real contact. That's something very special.
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I'm not very good at talking and being with people and being gregarious and outgoing. I love people, but I have great difficulty doing it.
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European films were what it was about for me - the sensations I needed, the depth, the storytelling, the characters, the directors, and the freedom that you can't really find in American films.
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My style very much leans towards the masculine, but I think I am feminine in it - I like the feminine body in masculine shapes. The androgynous look suits me.
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Usually, watching yourself is pretty awful. People think we all love watching our own films. We don't. We cringe away from it.
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'There are so many misunderstandings in life. I once caused a scandal by saying I lived with two men ... I didn't mean it in a sexual sense ... I was just too dirty to clean my act up.'.
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The process of filmmaking is very musical, you get into the rhythm and the rhythmics of how someone is, especially with Woody Allen who is very much into body language and body movement.
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I must explore desert ground and see what can grow. But there are limits. I know in my heart what I would never do.
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If you were to find all the people I've worked with and ask them what they think of me, they're all just going to say, 'Oh, wonderful', and it'll just be a lot of blah.