"I get irritated, nervous, very tense or stressed, but never bored"
About this Quote
The line sounds like a manifesto of engagement: irritation, nerves, tension, stress. These are not signs that something has gone wrong but that something matters. For Catherine Deneuve, an actress famed for an otherworldly calm on screen, the confession lifts the veil on the engine beneath that composure. She has often embodied cool restraint, the elegant face of French cinema; the inner weather, she suggests, is volatile and alert. That inner agitation becomes the condition for attentiveness and rigor. Boredom, by contrast, is a lapse of attention, a surrender to indifference.
Her career offers the context for such a stance. From The Umbrellas of Cherbourg to Belle de Jour, The Last Metro, and Indochine, Deneuve worked with directors who demanded precision and moral complexity. A film set can involve endless waiting, yet she implies that there is no dead time if one keeps looking. Each take is a micro-adjustment, each scene a test of tone and detail. Stress becomes an index of care. Nerves signal the risk inherent in performance, the vulnerability needed to inhabit another life. Irritation can be the friction that sharpens choices, a refusal to settle for the easy or the sentimental.
There is also a sly rebuke to cliches about French ennui. Deneuve turns away from languor and toward intensity. She would rather be uncomfortable than disengaged. That preference helps explain the longevity of her career: to remain relevant across decades requires vigilance, curiosity, and the willingness to court uncertainty. Never bored is not a boast about constant novelty; it is a discipline of attention, a commitment to stay awake to nuance even when glamour and routine threaten to dull the senses.
Reframed this way, anxiety and tension are not merely private inconveniences but the vital signs of artistic life. They mark the presence of stakes. Boredom, by comparison, is a kind of absence. Deneuve chooses presence.
Her career offers the context for such a stance. From The Umbrellas of Cherbourg to Belle de Jour, The Last Metro, and Indochine, Deneuve worked with directors who demanded precision and moral complexity. A film set can involve endless waiting, yet she implies that there is no dead time if one keeps looking. Each take is a micro-adjustment, each scene a test of tone and detail. Stress becomes an index of care. Nerves signal the risk inherent in performance, the vulnerability needed to inhabit another life. Irritation can be the friction that sharpens choices, a refusal to settle for the easy or the sentimental.
There is also a sly rebuke to cliches about French ennui. Deneuve turns away from languor and toward intensity. She would rather be uncomfortable than disengaged. That preference helps explain the longevity of her career: to remain relevant across decades requires vigilance, curiosity, and the willingness to court uncertainty. Never bored is not a boast about constant novelty; it is a discipline of attention, a commitment to stay awake to nuance even when glamour and routine threaten to dull the senses.
Reframed this way, anxiety and tension are not merely private inconveniences but the vital signs of artistic life. They mark the presence of stakes. Boredom, by comparison, is a kind of absence. Deneuve chooses presence.
Quote Details
| Topic | Stress |
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