A Quote by Ludivine Sagnier
You know, when you start, especially with me, I didn't really know I was going to be a movie actress. I thought I was going to do theater.
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My most enjoyable movie going experiences have always been going to a movie theater, sitting there and the lights go down and a film comes on the screen that you don't know everything about, and you don't know every plot turn and every character movement that's going to happen.
Careers are built on relationships. Even if it's a bad movie, even if I know it's a bad movie, even if it's a team of filmmakers that I know are going to be difficult, that I know are going to really make me work extra hard, it's fundamentally the same process.
The Olympic gold was like going to a theater and seeing a movie that had the ending you expected. But you left the theater thinking, 'You know, that was a good movie.'
I feel incredibly blessed. I'm happy, but all of this movie business, and working as an actress is really hard. When you're not working is when you have to stay positive and remind yourself that you're talented. What's due for you is due for you, and you don't know when that's going to come. That's something I struggled with after I got out of school, wondering how long I was going to have to wait. Then beautiful jobs started coming to me. Now, I feel that my path is going to be what it's going to be, and as long as I relax and breathe, I can enjoy it.
I always have an idea before we even start the movie because if you hire the wrong person, within a couple of days you're going to know that and you're going to be really panicked.
I've always been a gurner. I tried to reel it in. You know there was a period when I thought I was going to be a really serious actress, but the gurning... I can't get in control of it. It just runs away with me.
The way I write is very much without kind of a goal. I have something I'm interested in and then I decide I'm going to explore it. I don't know where the characters are going to go, I don't know what the movie is going to do or what the screenplay is going to do. For me, that's the way to keep it alive.
I got my degree in acting and theater, and then I had a teacher who told me to take a class with The Groundlings. And for a second, I thought, 'Well, I don't know about that. I'm a serious actress.' And then I did, and I loved it, and I said, 'Ah, well, I guess this is what I'm going to do now.'
He's brilliant. At first, I thought, 'Oh, is he going to be Hollywood stud-like?' But he's a really kind, wonderful person. He said to me one day early in the making of the movie, 'You know, I was kind of worried about you'. He thought I was going to be a perfect skin, which I am certainly not. It didn't take long for Leo to crack and see who I really am, and we became very close. but, I must say, he is absolutely gorgeous.
I'm going with Charlotte Rampling. In 45 Years [movie], you start out feeling so bad for her, and then it kind of shifts. I don't know how long you have to act to be able to say everything when you say nothing. The acting feels so real. It's not a fluke that a movie that probably no one's heard of, an actress performance comes out of it.
Actually, for me, I really love to do action movie. You know, most people, they know, they thought that I am a martial artist. I don't know why, but I love to do kung fu movie, you know?
What really worries me is that those who are in positions of power are not really affected by what we are writing. In the moral dialogue you want to start, you really want to involve the leaders. People ask me: "Why were you so bold as to publish A Man of the People? How did you think the Government was going to take it? You didn't know there was going to be a coup?" I said rather flippantly that nobody was going to read it anyway, so I wasn't likely to be fired from my official position. It's a distressing thought that we cannot engage our leaders in the kind of moral debate we need.
I went to London to do the stuff. I was like "What am I going to do? What's going to happen?" But then once you start working, you forget all that and you start enjoying what you're doing. Once you enjoy the process, you know that people are going to do the same thing. If you don't enjoy it and just do it like a job, then it's going to be feel that way. That's my theory of doing a movie.
I just haven't really had a chance to allow to sink in. I'm sure there is going to come a time when reality is going to hit me and I'm going to know that it's going to be a while before I help my teammates, and that's going to be hard for me.
I don't know how far, I don't know where I'm going to be or where I'm going to go, but I know this - if a team comes to grab me, I know they're going to get a special player, and I'm ready to show them what I can do and make sure I can contribute.
The way that I look at it is that, when we film for eight months straight for a new 'Jackass' movie, I know that I'm going to wind up with at least two broken bones. I don't know when it's going to happen, but you can't contemplate how you're going to fall and what's going to happen.
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