Vicky Krieps Quotes
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I found meditation. It was more out of pure desperation: I just started to wake up at 5 and sit for one hour, and suddenly, day after day, piece by piece, I could really feel I was coming back into me.
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In order to make Alma innocent and open, I had to forget that I'm stressed as an actress because I'm making a film with Paul Thomas Anderson. I had to let go of everything and hold onto the text. The language was like a rope I could cling onto and make my way blindfolded through the shooting.
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I grew up wearing trousers and climbing trees.
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In German, if a situation is tense, you say 'unter strom' - under electricity.
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In my family, people become pregnant at 33 or something, not 26.
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I stood in front of a mountain and was overwhelmed by the beauty and energy; I had goosebumps. I thought, if I could record this feeling, go back home and pour it out again so other people can have that feeling, this I would want to be my work. I knew it was acting - I wanted to be like a messenger or medium.
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You can give into a relationship and warmth and the arms of another person.
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I love how complicated we are. We are complicated because of what we've had and lived.
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It seemed too glamorous to me to be an actress like in the movies.
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When I was 26, I got pregnant. I decided to have the baby because I accept everything in life as an adventure. I accept life. I couldn't see why you would not accept it.
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Actors actually have a feeling, like a sixth sense. They are like mediums. But it only works - you can only become this medium or this vessel to transport emotions and images and feelings - if you are not too full of yourself. Otherwise, there wouldn't be space for a story to live inside of you or a world to evolve in you and around you.
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I didn't have the courage to let myself think or dream of acting because I come from Luxembourg - it's a very small country, and I think it's a place you need to get away from to see how big the world is and what's possible.
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Every good love story is actually completely insane, completely mad.
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The more I'm here in L.A. talking to people, the more I believe that what I've been doing is right, and that's the belief that you have to judge a role from the character, by the script.
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The way I grew up, I had hippie parents, and we would run around the garden with no shoes on, very close to nature. So I never wore little princess dresses. I still have this feeling whenever I wear a very formal dress; I always have this slight fear that people will point their fingers at me and laugh: 'Vicky is trying to look like a lady.'
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For me, couture is like 35 mm. film. It's so important we school ourselves to see real quality. In a couture garment, as in a 35 mm. film, you really feel the life of the people who made it. In high-street fashion, it's different. There's no risk.
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Many relationships can become difficult, and it can be hard to find a way back.
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I am always open to when someone says, 'Let's do it this way.'
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I didn't know what acting school was, so I went onto the computer and typed 'acting school.' I found one in Berlin, and I found ones in Vienna, Zurich, and London. I went to all of those places to audition. You were supposed to have two monologues, and I only had one.
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I don't believe in borders, I find them boring. And I don't see any difference between any person.
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I think women are strong, and they have never been weak.
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I wasn't a girl who grew up wearing dresses, but I was always attracted to fabric. When we'd go to a shop, the fabric I'd pick was always the most expensive. It was always the silk or cashmere. It was something in me, that desire to choose quality. It's the same now.
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I don't call myself a method actor, but the thing is, when you meet Reynolds Woodcock, who is always Reynolds Woodcock, you kind of are Alma, and you kind of become Alma all the time. I think after the first day, Vicky was going, 'Oh gosh.' It was so intense, and I couldn't understand why it was so intense.
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I often have the feeling that acting is really not difficult, because all I do is I just listen. I just listen. I just listen to what there is. And if there's nothing, then I listen to nothing. If there's a chair, and it's empty, I listen to an empty chair, and I will respond to it.