Charlotte Rampling Quotes
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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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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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What I am doing is not acting. I am playing myself.
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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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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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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.
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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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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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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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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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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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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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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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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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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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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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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 was incredibly fatalistic. I just thought, 'If it works, it works.' But I've always been like that. I've never been easily impressed, and I've never thought I didn't deserve something. If I got it, then I deserved it.
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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.
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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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Painting and photography keep the creative channel open, and for an actor, it's to keep alive, it's to keep awake, it's to keep watching, it's to keep feeling, it's to keep enjoying, to keep that sensuality of feeling alive.
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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.