"When I first see the dailies, I look only at myself, but then you start to see the scene"
About this Quote
There’s a bracing honesty in admitting that the first use of film is vanity. Deneuve’s line doesn’t dress it up as “craft” or “discipline”; it starts with the impulse everyone in a visual culture understands: check the face, the posture, the spell you’re casting. “Dailies” are the industry’s unromantic mirror, and she names the reflex to treat that mirror as the whole story.
The pivot is where the power sits: “but then you start to see the scene.” She’s describing a shift from self-surveillance to authorship-by-attention. Actors are trained to be hyperaware of how they read, yet the work only deepens when the performance stops being a personal brand exercise and becomes relational: eyelines, rhythm, temperature, the invisible math between bodies in a frame. The subtext is that self-obsession isn’t a moral failure; it’s a stage you move through.
In Deneuve’s context - a star whose image has been endlessly consumed and curated, from the Nouvelle Vague through prestige cinema - the remark lands as both confession and defense. Being “Catherine Deneuve” invites a lifetime of scrutiny, and the dailies are where that scrutiny is internalized. Her insight is quietly radical: cinema isn’t built from a single magnetic face, even when the culture pretends it is. The real performance begins when the actor stops auditioning for their own reflection and starts watching what the camera actually caught: a world.
The pivot is where the power sits: “but then you start to see the scene.” She’s describing a shift from self-surveillance to authorship-by-attention. Actors are trained to be hyperaware of how they read, yet the work only deepens when the performance stops being a personal brand exercise and becomes relational: eyelines, rhythm, temperature, the invisible math between bodies in a frame. The subtext is that self-obsession isn’t a moral failure; it’s a stage you move through.
In Deneuve’s context - a star whose image has been endlessly consumed and curated, from the Nouvelle Vague through prestige cinema - the remark lands as both confession and defense. Being “Catherine Deneuve” invites a lifetime of scrutiny, and the dailies are where that scrutiny is internalized. Her insight is quietly radical: cinema isn’t built from a single magnetic face, even when the culture pretends it is. The real performance begins when the actor stops auditioning for their own reflection and starts watching what the camera actually caught: a world.
Quote Details
| Topic | Movie |
|---|---|
| Source | Help us find the source |
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