"Being an actor means being an instrument for someone else. I want to give myself completely"
About this Quote
There is steel under the surrender in Deneuve's line: she frames acting as submission, then makes that submission sound like control. "Instrument for someone else" is a deliberately chilly metaphor, more orchestra pit than diva spotlight. It demystifies the actor as auteur and re-centers power with the director, the script, the camera. Coming from Deneuve, whose public image has long been synonymous with poise and distance, the phrasing is almost provocation: the icon insisting she is, at her best, a tool.
The subtext is about craft as discipline, not self-expression. She rejects the modern celebrity myth that a performance is primarily the revelation of a private self. Instead, she argues for the older, sharper idea that cinema is collaborative labor, and the actor's job is to be played - to be positioned, lit, edited, shaped. That word "instrument" also smuggles in a plea for seriousness. Instruments require practice, calibration, restraint. They don't freelance.
"I want to give myself completely" sounds romantic, but it's more like a professional vow. Complete giving here isn't confession; it's availability. The body becomes material. The ego becomes negotiable. In the context of French cinema, where star personas are both revered and carefully constructed, Deneuve is clarifying the paradox: the more thoroughly she yields to another vision, the more singular she can appear. It's a neat inversion of power, and a quietly radical definition of devotion in an industry built to reward self-display.
The subtext is about craft as discipline, not self-expression. She rejects the modern celebrity myth that a performance is primarily the revelation of a private self. Instead, she argues for the older, sharper idea that cinema is collaborative labor, and the actor's job is to be played - to be positioned, lit, edited, shaped. That word "instrument" also smuggles in a plea for seriousness. Instruments require practice, calibration, restraint. They don't freelance.
"I want to give myself completely" sounds romantic, but it's more like a professional vow. Complete giving here isn't confession; it's availability. The body becomes material. The ego becomes negotiable. In the context of French cinema, where star personas are both revered and carefully constructed, Deneuve is clarifying the paradox: the more thoroughly she yields to another vision, the more singular she can appear. It's a neat inversion of power, and a quietly radical definition of devotion in an industry built to reward self-display.
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| Topic | Movie |
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