Charlotte Rampling Quotes

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.

If words don't have vibration behind them, and a real feeling behind them, then they're just words.

I can occupy myself quite easily with what's going on inside me.

What beauty brings is huge. It brings great privilege, great power and potential to do many things. If you are beautiful, doors open for you; people smile at you; you are accepted in places where others aren't. So the relationship that people have with beauty, in a sense, is almost deforming.

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.

Ever since I was a small child, Ive had this feeling - its in my nature, and so its not even pretentious - that if everyones going one way, I will go the other, just by some kind of spirit of defiance.

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

I think you have to earn beauty. You can use it or abuse it however you want when you`re young. It`s a God-given gift. You have a visiting card - you can go into any room and someone will come and talk to you. But I`ve always thought from very early on that you have to be careful with that - not being vain or narcissistic. Have fun, but don`t be obsessed with it.

We all have loads of information. What an actor does is bring it to the surface. I jump without a net because that's how I am. The information comes out because I am brave enough to allow it. I'm not brave as a human being in everyday life. I'm brave when I'm acting.

You go though a period of immense pain when reality meets the dream.

I can be seen as not being very communicative, or rather mysterious, or distant, or rather cold - all those things. Yeah, I know I can give off that impression. So I am that, too.

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.

There's always a time for change, and you should never be frightened of it.

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.

You can't fool an audience with lots of bits and pieces. You have to lead them somewhere.

I regret not having enough training, I trained for a year at The Royal Court, but I very quickly went off to do films and television.

I am not qualified to be a Dame. To be Dame you have to represent England in a way that I don't.

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.

When I moved to Paris in the '70s, there wasn't very much going on in film in England. So when I started doing French films, there was a natural movement toward the kind of films I wanted to do. It wasn't the reason I came, but it so happened that I stepped into a time and place that actually corresponded to what I wanted. That sometimes happens in life. And it was rather beautiful.

There are moments when things just break apart and not really for very valid reasons, either. But they just change your life and make you go in different directions.

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

Cinema d'auteur, cinema about people, about emotions. About la difficulté d'être, the difficulty of being, existential problems. That's what the nouvelle vague is. The early '60s was all about that.

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.

Doing cinema is not about watching yourself

By trying to control everything we become very neurotic, more and more desperate. It's a huge tragic thing.

One of the reasons I don't see eye to eye with Women's Lib is that women have it all on a plate if only they knew it. They don't have to be pretty either.

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

When I take on something, I take the whole thing on. It's not even a question of separating, "Oh, am I going to be naked?" If you know you have to do something in life, for me, I go with my whole person.

I've lived through deaths in my family and I've lived through separations in my family so those are the big ones. Those are the ones that press the biggest buttons in human beings' lives.

A film based on a jolly good John Grisham book is fine, but I like to get a bit under the skin

You can never really judge your work because once it's done, it's done.

I must explore desert ground and see what can grow. But there are limits. I know in my heart what I would never do.

I think that most actors don't have very good opinions of themselves

You give, actually, what you have in your inner world through your emotion and feeling. That's what you can give; it's not so much about "acting" in a sense of playing something that's very different to you.

You become more and more charged with your life and with a life that you're observing. When I was younger, I was actually looking forward to getting older, to have more insight, more understanding. I'm much more tolerant with others and with myself. I'm not in rebellion all the time, I'm not angry so much. But all those feelings are really useful [when you're young] because they fire us, as long as they don't get out of control.

Because one has the animal instinct to seek out the people that suits one - you see people that go on life's journeys and get muddled along the way. If you look at their lives they've always gone with the wrong people... can you say it's the wrong people - I don't know.

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. And I loved it.

I did that film just so I could kiss Robert Redford.

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

I got the O.B.E because I represent England outside of England more...but thinking of me as an actor, I haven't done all the classical theatre, all the great roles. Think of Helen Mirren and me. Helen, who I adore, is a friend - should be Dame. I am the rebel, the revolutionary on the side.

I know a lot about fear in itself, and lived with fear a lot. Lived with anxiety a lot, lived with the things that - most human beings, at some stage in their lives, are going to live with these feelings.

We can never know... But maybe it's because no black actors merited being nominated.Why put people into categories?

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.

Close girlfriends I don't have necessarily, as an actress. Perhaps there is a thing of competition there, you know, when you're doing the same things, and you're the same age. I could be with younger actors, but woman of my age probably - there is and there isn't, one doesn't like to think of it, but I think there is a sense of competition. Which is good, also.

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.

You don't need the painful memories, because either you've resolved them. Denying always makes them want to come back. Denial is a mechanism that doesn't work. But allowing them to come back in little by little, those memories, you can begin to be quite comfortable with them, and it's even nice to have that as part of the map of your life.

You cannot watch yourself dispassionately.

I've always been monogamous - [within it] I've been in love with people, but very platonically. For me, monogamous love is about learning how to be able to trust someone completely; so you need to be able to think you can trust them. But that doesn't mean you can't have extraordinary feelings for other people and not feel guilty about them, but not necessarily go and wreck marriages and consummate, and you don't have to do all that.