Jeanne Moreau Poster

Quotes (64)

  • While I'm doing the role, I'm the part. I'm the person. But once I'm finished I'm me.
  • I've worked hard. I'm passionate and my world is cinema, acting, theater, creativity, art, painting, books, music, sculpture, landscapes, movements of people in the streets. Everything.
  • Acting deals with very delicate emotions. It is not putting up a mask. Each time an actor acts he does not hide; he exposes himself.
  • Don't take care of yourself because you want to stop time. Do it for self-respect. It's an incredible gift, the energy of life. You don't have to be a wreck. You don't have to be sick. One's aim in life should be to die in good health. Just like a candle that burns out. The life you had is nothing. It is the life you have that is important. Some people are addicts. If they don't act, they don't exist.
  • At the beginning of my career, I was seeking something traditional, strict; just to prove to my father that being an actress is not being a whore.
  • I am a woman with absolutely no sense of nostalgia
  • While you work, while you create, you have doubts, and this is essential.
  • I am open to what is irrational. I open doors to intuition, because rationality is really death.
  • Making films is no longer a way of acting, it is a way of life.
  • We have so many words for states of the mind, and so few for states of the body.
  • Movies influence people once you get successful, and people give importance through you to the characters you do. I refused parts showing aging women getting drunk and suicidal. I know it exists, but I refuse to give that image of women; it's not my task to show the worst side of what can happen to them. I want to be an upper, not a downer.
  • The public sees me too much as they see me in films where I'm always playing unorthodox characters.
  • I decided my glass would always be half full, never half empty.
  • The love, suffering, and happiness I experience in life appear in my movies, become an integral part of them. When I see a film after I've made it, I see my own life before me.
  • I don't think success is harmful, as so many people say. Rather, I believe it indispensable to talent, if for nothing else than to increase the talent.
  • Everything I have I have wanted.
  • I've never worried about age. If you're extremely, painfully frightened of age, it shows. Life doesn't end at 30. To me age is a number, just a number. Who cares?
  • Age does not protect you from love, but love, to some extent, protects you from age.
  • I'm intelligent, but I'm not intellectual.
  • Every night, I go over what I did in the day, in ethical or moral terms.
  • Making a film is like life aboard ship, except that every day is an emergency.
  • I'm a passionate woman who falls in love very easily.
  • I've always been ambitious, but not competitive.
  • I never use the word "career", it's a journalistic term. I can't separate creation from life.
  • To act is to move. It is that power to move that gives me real happiness.
  • If you don't give a damn, men look at you.
  • Acting is transmitting life.
  • I'm not measured. I'm not lukewarm. It's not always easy to live with for me.
  • One's soul is like a vast unexplored country.
  • Like every human being I have everything in me--the best and the worst.
  • Life is just a lot of interesting landscapes and one makes one's own geography.
  • When you live in terror and segregation you can't create art.
  • Passion is jealous. Passion goes up and down. Love is consistent. Fidelity, that's what love is about. Compassion, you give even more than you receive. That's what love is about. I'd hate to still be a victim of passion--I would think, "God! I've lived all these years and I've learned nothing?"
  • For me it's not possible to forget, and I don't understand people who, when the love is ended, can bury the other person in hatred or oblivion. For me, a man I have loved becomes a kind of brother.
  • You have to know cold to appreciate warmth.
  • Love is like the soup, the first spoonfuls are too hot, the last ones too cold.
  • I never come out of a film the same as I went in. Each time I discover new capacities for feelings and emotions I never knew I had.
  • I was never interested in existentialism, because of [Jean-Paul Sartre's] famous phrase, "Hell is the others". For me, this is a crazy idea. For me, hell is one's self.
  • [speaking in 1965] People who wanted to be nice about my looks always would say, "You remind me so much of Bette Davis". Very nice, except I can't stand Bette Davis.
  • They will write "Amant de Jules et Jim (1962)" on my gravestone when I go.
  • In making dinner for a friend, don't forget the love.
  • Life is an accomplishment. Each moment has a meaning and you must use it. Life is given to you like a flat piece of land and everything has to be done. I hope that when I'm finished, my piece of land will be a beautiful garden.
  • Age does not automatically bring wisdom. It might bring you knowledge, but wisdom is not a cold cream that you rub in each night and then wake up smarter in the morning.
  • Although for some people cinema means something superficial and glamorous, it is something else. I think it is the mirror of the world.
  • One should never say, "When I was young . . . "
  • Each time I come to New York, it's like meeting again someone I love.
  • Sometimes the directors were afraid of what they brought out of me. Even if they changed later when they were aging, at the time we first met--and I was usually five or six years older than they were--they wanted to know about women. I was grateful, because I wanted to know about women, too.
  • If I get concerned with what kind of part I would like to play, I would then start to wonder what roles would be good for me, good for my career, pleasing for the public. Life does not invite this choice and neither should films.
  • Lee Marvin is more male than anyone I have ever acted with. He is the greatest man's man I have ever met and that includes all the European stars I have worked with.
  • Whenever I have doubts about the reactions of a character, I find her a place in mythology.
  • When I've finished with my movie career, I may not own any snack bars, but at least I will have made the movies I wanted to make.
  • I always have the impression that I am in the midst of becoming. Even if it's my death that's becoming. It's in process. It's not over.
  • I do not think that for human beings the physical beauty is totally separated from inner beauty. Your mood shows on your face. That is something that comes from the inside. If you're in a good mood there is something different about your complexion, the light in your eyes, your mouth doesn't droop. There is energy coming out of you.
  • [on Luis Buñuel] I consider him my Spanish father, and I called him that. We met simply because of box-office considerations--he didn't know what actress he wanted for Le journal d'une femme de chambre (1964), and the producers offered me. We met in an apartment in St. Tropez and enjoyed so much being together that we also had dinner. He was a fantastic person.
  • [on Orson Welles in 1983] He transformed a town square in Spain into a Chinese marketplace. To me, that's what film is about--magic!
  • [on Luis Buñuel in 1983] I called him my Spanish father. He said, "If you had been my daughter, I'd have tied you up and kept you behind bars".
  • [on Joseph Losey in 1983] I love the way he films; it's very personal, very brilliant.
  • [on Michelangelo Antonioni in 1983] He was a whole different experience. He doesn't speak at all to the actors. We filmed at night. I couldn't understand why we should be down on the set--but the result was good.
  • [on Martin Ritt in 1983] That was a different experience for me. He would cover everything--closeups, medium shots, long shots, very few tracking shots. It took ages and ages to make a sequence, and I was used to working with people who did a sequence--and covered four pages--in one movement. So I learned a new way of shooting.
  • [on Rainer Werner Fassbinder in a 1984 interview] It was his ex-wife that told me he wanted me to be in the film. The picture was done in 24 days. Immediately, when I was on the set, I could feel his willpower. He was perfect in terms of creativity!
  • [on Peter Brook in a 1983 interview] His approach is sometimes quite frightening because he reaches that part of you he wants to be sensitive--and it opens up incredible things.
  • [on Jean-Luc Godard in a 1983 interview] I asked for him as the director of "Eva." He signed the contract and was paid some money; he was supposed to deliver a first draft in four weeks time. He eventually sent it--in a one-page letter! The producers screamed, "Where did you get that crazy bum?" So, then I recommended [Joseph Losey].
  • [on Burt Lancaster after filming The Train (1964)] Before he can pick up an ashtray, he discusses the motivation for an hour or two. You want to say, "Just pick up the ashtray and shut up!". NOTE: In 1983 Moreau thought that her remarks were unfair to Lancaster.
  • [on Roger Vadim in a 1983 interview] He's very charming, but he was very nervous on the set because co-star Gérard Philipe was very ill. NOTE: Philipe died soon afterwards.