Charlotte Rampling Quotes
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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'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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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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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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What I am doing is not acting. I am playing myself.
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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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You can never really judge your work because once it's done, it's done.
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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 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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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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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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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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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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I did that film just so I could kiss Robert Redford.
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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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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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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 thought that after such a long time of not letting her be with me. I would like to bring her back into my life.
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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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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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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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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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Ever since I was a small child, I've had this feeling - it's in my nature, and so it's not even pretentious - that if everyone's going one way, I will go the other, just by some kind of spirit of defiance.
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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.