Quotes from Charlotte Rampling

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.

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.

I think what we do best, in the artistic world, are the things where we're handicapped.

I was very friendly with Jimi Hendrix because my boyfriend at the time, Tommy Weber, was making a film about him, so I would go to all of his shows.

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.

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.

For an actor, if you're not doing a job, you can't just practice acting. Your instrument is your whole person.

I am actually a very unspeaking person. I'm not really good in social situations. People expect me to be more outgoing. I don't know why. They think I have this kind of assurance.

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

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.

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.

Go out there and try on everything - short skirts, long skirts, mid length, little jackets, men's clothing - and really look at yourself; really walk around in the clothes. Don't just take someone else's advice. You must feel you in these clothes and feel what it's like to live in them.

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.

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

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.

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.

I started writing diaries, and mine were horrible. Oh, the monotony. Oh, the angst. I said, 'I don't want anyone to find these!' I destroyed them.

When people want to see your film, you're over the moon because you've actually made real contact. That's something very special.

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.

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.

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.

One mysterious person looking at another mysterious person equals what? Another mystery.

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.

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.