Emmanuelle Beart Quotes
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I am an actress, I earn money, I am well-known. I don't think it is altruism to become engaged in humanitarian work. It's the least one can do.
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In Hollywood there's no real material. They would send me stuff, but I hadn't even seen the director. If I don't see the director's eyes, I'm not going. I'm not even going to pack my bags.
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It is not easy to age in harmony with one's roles.
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There are moments when you feel that the desire to work is fading, and the only way to bring it back is to get away from it, to put yourself in a state of frustration so you feel the need again.
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My looks mean nothing to me. If anything, they are a hindrance.
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The body is an actor's tool, like the face, malleable. I never thought that being naked was immoral or outrageous.
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We've all had that fear, that despair of losing someone, or this fierce desire because it's not reciprocated. The less reciprocation there is, the more desire we have.
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Once I opened my eyes to the realities of life, I couldn't close them.
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For me, I don't feel it is a success in the career to be the pretty woman; career success comes from being characters who tell us something about the truth.
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I played football when I was little. I didn't want to be an actress at all, I wanted to be a majorette in an Australian circus. That was my ambition.
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After 10 years of French torture - psychological torture - it's great to do an American movie.
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I don't always see my movies right away. And there are some I haven't seen at all. Sometimes that bothers the directors, so I'm obliged to see them.
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I keep reading that I'm cold. But I'm not, I'm shy. And I play a lot of women of fire and sexuality like an animal - so I'm cold on one side and fiery on the other.
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The body, in 'La Belle Noiseuse,' was the source of the artist's creativity.
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I give everything I have to give on the screen. I feel I don't owe the public anything else.
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I think my best work has been in France with great men. It's been my great fortune to work with really great men - with Olivier Assayas, Raoul Ruiz, Jacques Rivette. I am tutored by them.
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I am a voyager - and the voyage cannot mean that I stay at home.
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There are a lot of films where I play characters that are about the windows to the interior person rather than the exterior.
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My looks haven't prevented me from playing prostitutes or people broken by life. But when they need a token blonde with big breasts, that's OK, too. It's part of the game.
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I don't see my old films, but I think of the characters I played as friends, like the women I meet in my life who made strong impressions on me. I remember them and they are part of me.
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I started acting without any vocation. I continued out of love.
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I can't just react on the strength of an email and three pages of synopsis, and say I'm going to take off for three months of my life.
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Today I would say, 'I am against plastic surgery.' It's a grave act. An act that touches our soul. It was frightening.
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I dream about singing. I would love to sing and write.
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If I have one thing perfect, it's my eyebrows. And my feet. I love my feet. They're like Japanese feet. The rest I would like to hide. Especially my freckles. I feel ridiculous.
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I wouldn't say I was a rebel as such, but I certainly wasn't right at school.
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You may think of me as an object of desire and I'm going to tell you that I can be in front of you naked and not be erotic.
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There is a phrase in French, which means 'to miss.' To pass by. To not be able to stop. You love someone and someone loves you, but it just can't work for different reasons.
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It is not easy to grow old in this business, when you are a woman above all, in the cinema.
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I've just done a film in the United States. It's a thriller called 'A Crime', with Harvey Keitel, we play against each other, and it's so great to play in another language. But I'm definitely not American.
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