"I was trying to be very at ease in this arrogant person, and very worldly, but something human came into the part. I hate to say that. I wanted to be totally worldly"
About this Quote
Acting, at its sneakiest, is a fight between the mask you want and the person you can’t quite stop being. Leslie Caron’s line lands because it’s an admission of artistic control slipping in public: she set out to play “arrogant,” “at ease,” “worldly” - a glossy, protected surface - and then felt “something human” leak through like an unplanned confession. The tiny wince in “I hate to say that” is the tell. Human, for Caron here, isn’t a compliment; it’s a contaminant that threatens the chic distance she’s aiming for.
The word “worldly” does double duty: it means sophisticated, yes, but also armored. A “totally worldly” character doesn’t need anyone, doesn’t reveal soft spots, doesn’t beg to be understood. Caron’s frustration hints at the actor’s paradox: audiences say they want poise and glamour, then fall hardest for the tremor underneath. Her “something human” is probably vulnerability - the glance that lingers too long, the voice that cracks a shade, the impulse to explain oneself. It’s the mess that makes arrogance legible rather than cartoonish.
In the broader context of Caron’s screen persona - elegance threaded with emotional translucence - this reads like a behind-the-scenes account of how her charm is made: not by perfect polish, but by the refusal (or inability) to stay sealed. She wanted a pose; the role demanded a pulse.
The word “worldly” does double duty: it means sophisticated, yes, but also armored. A “totally worldly” character doesn’t need anyone, doesn’t reveal soft spots, doesn’t beg to be understood. Caron’s frustration hints at the actor’s paradox: audiences say they want poise and glamour, then fall hardest for the tremor underneath. Her “something human” is probably vulnerability - the glance that lingers too long, the voice that cracks a shade, the impulse to explain oneself. It’s the mess that makes arrogance legible rather than cartoonish.
In the broader context of Caron’s screen persona - elegance threaded with emotional translucence - this reads like a behind-the-scenes account of how her charm is made: not by perfect polish, but by the refusal (or inability) to stay sealed. She wanted a pose; the role demanded a pulse.
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