Jeanne Moreau

Birthday: 23 January 1928, Paris, France

Height: 160 cm

When people gave Louis Malle credit for making a star of Jeanne Moreau in Ascenseur pour l'échafaud (1958) immediately followed by Les amants (1958), he would point out that Moreau by ...Show More

When people gave Louis Malle credit for making a star of Jeanne Moreau in Ascenseur pour l'échafaud (1958) immediately followed by Les amants (1958), he would point out that Moreau by that time had already been "recognized as the prime stage actress of her generation." She had made it to the Comédie Française in her 20s. She had appeared in B-movie thrillers with Jean Gabin and Ascenseur was in that genre. The technicians at the film lab went to the producer after seeing the first week of dailies for Ascenseur and said: "You must not let Malle destroy Jeanne Moreau". Malle explained: "She was lit only by the windows of the Champs Elysées. That had never been done. Cameramen would have forced her to wear a lot of make-up and they would put a lot of light on her, because, supposedly, her face was not photogenic". This lack of artifice revealed Moreau's "essential qualities: she could be almost ugly and then ten seconds later she would turn her face and would be incredibly attractive. But she would be herself".Moreau has told interviewers that the characters she played were not her. But even the most famous film critic of his generation, Roger Ebert, thinks that she is a lot like her most enduring role, Catherine in François Truffaut's Jules et Jim (1962). Behind those eyes and that enigmatic smile is a woman with a mind. In a review of Screen Two: The Clothes in the Wardrobe (1993) Ebert wrote: "Jeanne Moreau has been a treasure of the movies for 35 years... Here, playing a flamboyant woman who nevertheless keeps her real thoughts closely guarded, she brings about a final scene of poetic justice as perfect as it is unexpected".Moreau made her debut as a director in Lumière (1976) -- also writing the script and playing Sarah, an actress the same age as Moreau whose romances are often with directors for the duration of making a film. She made several films with Malle.Still active in international cinema, Moreau presided over the jury of the 1995 Cannes Film Festival. Hide

Movies influence people once you get successful, and people give importance through you to the chara Show more Movies influence people once you get successful, and people give importance through you to the characters you do. I refused parts showing aging women getting drunk and suicidal. I know it exists, but I refuse to give that image of women; it's not my task to show the worst side of what can happen to them. I want to be an upper, not a downer. Hide

Although for some people cinema means something superficial and glamorous, it is something else. I t Show more Although for some people cinema means something superficial and glamorous, it is something else. I think it is the mirror of the world. Hide

Age does not protect you from love, but love, to some extent, protects you from age. Age does not protect you from love, but love, to some extent, protects you from age.

While you work, while you create, you have doubts, and this is essential. While you work, while you create, you have doubts, and this is essential.

Acting is transmitting life. Acting is transmitting life.

(On Burt Lancaster after filming "The Train") Before he can pick up an ashtray, he discusses the mot Show more (On Burt Lancaster after filming "The Train") Before he can pick up an ashtray, he discusses the motivation for an hour or two. You want to say just pick up the ashtray and shut up! (In 1983 Moreau thinks her remarks were unfair to Lancaster.) Hide

Life is just a lot of interesting landscapes and one makes one's own geography. Life is just a lot of interesting landscapes and one makes one's own geography.

(On Orson Welles in 1983) He transformed a town square in Spain into a Chinese marketplace. To me, t Show more (On Orson Welles in 1983) He transformed a town square in Spain into a Chinese marketplace. To me, that's what film is about - magic! Hide

Age does not automatically bring wisdom. It might bring you knowledge, but wisdom is not a cold crea Show more Age does not automatically bring wisdom. It might bring you knowledge, but wisdom is not a cold cream that you rub in each night and then wake up smarter in the morning. Hide

Everything I have I have wanted. Everything I have I have wanted.

In making dinner for a friend, don't forget the love. In making dinner for a friend, don't forget the love.

While I'm doing the role, I'm the part. I'm the person. But once I'm finished I'm me. While I'm doing the role, I'm the part. I'm the person. But once I'm finished I'm me.

I'm a passionate woman who falls in love very easily. I'm a passionate woman who falls in love very easily.

I was never interested in existentialism, because of [Jean-Paul Sartre's] famous phrase, "Hell is th Show more I was never interested in existentialism, because of [Jean-Paul Sartre's] famous phrase, "Hell is the others". For me, this is a crazy idea. For me, hell is one's self. Hide

Like every human being I have everything in me - the best and the worst. Like every human being I have everything in me - the best and the worst.

We have so many words for states of the mind, and so few for states of the body. We have so many words for states of the mind, and so few for states of the body.

(On Joseph Losey in 1983) I love the way he films; it's very personal, very brilliant. (On Joseph Losey in 1983) I love the way he films; it's very personal, very brilliant.

I always have the impression that I am in the midst of becoming. Even if it's my death that's becomi Show more I always have the impression that I am in the midst of becoming. Even if it's my death that's becoming. It's in process. It's not over. Hide

I am open to what is irrational. I open doors to intuition, because rationality is really death. I am open to what is irrational. I open doors to intuition, because rationality is really death.

(On Ranier Werner Fassbinder in a 1984 interview) It was his ex-wife that told me he wanted me to be Show more (On Ranier Werner Fassbinder in a 1984 interview) It was his ex-wife that told me he wanted me to be in the film. The picture was done in 24 days. Immediately, when I was on the set, I could feel his willpower. He was perfect in terms of creativity! Hide

The public sees me too much as they see me in films where I'm always playing unorthodox characters. The public sees me too much as they see me in films where I'm always playing unorthodox characters.

(On Roger Vadim in a 1983 interview) He's very charming, but he was very nervous on the set because Show more (On Roger Vadim in a 1983 interview) He's very charming, but he was very nervous on the set because co-star Ferard Philipe (who died soon afterwards) was very ill. Hide

They will write "Amant de Jules et Jim (1962)" on my gravestone when I go. They will write "Amant de Jules et Jim (1962)" on my gravestone when I go.

One's soul is like a vast unexplored country. One's soul is like a vast unexplored country.

Sometimes the directors were afraid of what they brought out of me. Even if they changed later when Show more Sometimes the directors were afraid of what they brought out of me. Even if they changed later when they were aging, at the time we first met - and I was usually five or six years older than they were - they wanted to know about women. I was grateful, because I wanted to know about women, too. Hide

At the beginning of my career, I was seeking something traditional, strict; just to prove to my fath Show more At the beginning of my career, I was seeking something traditional, strict; just to prove to my father that being an actress is not being a whore. Hide

Making a film is like life aboard ship, except that every day is an emergency. Making a film is like life aboard ship, except that every day is an emergency.

Each time I come to New York, it's like meeting again someone I love. Each time I come to New York, it's like meeting again someone I love.

To act is to move. It is that power to move that gives me real happiness. To act is to move. It is that power to move that gives me real happiness.

Making films is no longer a way of acting, it is a way of life. Making films is no longer a way of acting, it is a way of life.

If you don't give a damn, men look at you. If you don't give a damn, men look at you.

I do not think that for human beings the physical beauty is totally separated from inner beauty. You Show more I do not think that for human beings the physical beauty is totally separated from inner beauty. Your mood shows on your face. That is something that comes from the inside. If you're in a good mood there is something different about your complexion, the light in your eyes, your mouth doesn't droop. There is energy coming out of you. Hide

I've never worried about age. If you're extremely, painfully frightened of age, it shows. Life doesn Show more I've never worried about age. If you're extremely, painfully frightened of age, it shows. Life doesn't end at 30. To me age is a number, just a number. Who cares? Hide

Don't take care of yourself because you want to stop time. Do it for self-respect. It's an incredibl Show more Don't take care of yourself because you want to stop time. Do it for self-respect. It's an incredible gift, the energy of life. You don't have to be a wreck. You don't have to be sick. One's aim in life should be to die in good health. Just like a candle that burns out.The life you had is nothing. It is the life you have that is important.Some people are addicts. If they don't act, they don't exist. Hide

Life is an accomplishment. Each moment has a meaning and you must use it. Life is given to you like Show more Life is an accomplishment. Each moment has a meaning and you must use it. Life is given to you like a flat piece of land and everything has to be done. I hope that when I'm finished, my piece of land will be a beautiful garden. Hide

I never come out of a film the same as I went in. Each time I discover new capacities for feelings a Show more I never come out of a film the same as I went in. Each time I discover new capacities for feelings and emotions I never knew I had. Hide

[on Luis Bunuel]: I consider him my Spanish father, and I called him that. We met simply because of Show more [on Luis Bunuel]: I consider him my Spanish father, and I called him that. We met simply because of box-office considerations - he didn't know what actress he wanted for "Le Journal D'Une Femme De Chambre", and the producers offered me. We met in an apartment in St. Tropez and enjoyed so much being together that we also had dinner. He was a fantastic person. Hide

Lee Marvin is more male than anyone I have ever acted with. He is the greatest man's man I have ever Show more Lee Marvin is more male than anyone I have ever acted with. He is the greatest man's man I have ever met and that includes all the European stars I have worked with. Hide

[speaking in 1965] People who wanted to be nice about my looks always would say, "You remind me so m Show more [speaking in 1965] People who wanted to be nice about my looks always would say, "You remind me so much of Bette Davis". Very nice, except I can't stand Bette Davis. Hide

I've worked hard. I'm passionate and my world is cinema, acting, theater, creativity, art, painting, Show more I've worked hard. I'm passionate and my world is cinema, acting, theater, creativity, art, painting, books, music, sculpture, landscapes, movements of people in the streets. Everything. Hide

When you live in terror and segregation you can't create art. When you live in terror and segregation you can't create art.

(On Jean-Luc Godard in a 1983 interview) I asked for him as the director of "Eva." He signed the con Show more (On Jean-Luc Godard in a 1983 interview) I asked for him as the director of "Eva." He signed the contract and was paid some money; he was supposed to deliver a first draft in four weeks time. He eventually sent it - in a one page letter! The producers screamed, 'Where did you get that crazy bum?' So, then I recommended Joe Losey Hide

I am a woman with absolutely no sense of nostalgia I am a woman with absolutely no sense of nostalgia

Acting deals with very delicate emotions. It is not putting up a mask. Each time an actor acts he do Show more Acting deals with very delicate emotions. It is not putting up a mask. Each time an actor acts he does not hide; he exposes himself. Hide

When I've finished with my movie career, I may not own any snack bars, but at least I will have made Show more When I've finished with my movie career, I may not own any snack bars, but at least I will have made the movies I wanted to make. Hide

Whenever I have doubts about the reactions of a character, I find her a place in mythology. Whenever I have doubts about the reactions of a character, I find her a place in mythology.

I've always been ambitious, but not competitive. I've always been ambitious, but not competitive.

(On Martin Ritt in 1983) That was a different experience for me. He would cover everything - closeup Show more (On Martin Ritt in 1983) That was a different experience for me. He would cover everything - closeups, medium shots, long shots, very few tracking shots. It took ages and ages to make a sequence, and I was used to working with people who did a sequence - and covered four pages - in one movement. So, I learned a new way of shooting. Hide

For me it's not possible to forget, and I don't understand people who, when the love is ended, can b Show more For me it's not possible to forget, and I don't understand people who, when the love is ended, can bury the other person in hatred or oblivion. For me, a man I have loved becomes a kind of brother. Hide

(On Michaelangelo Antonioni in 1983) He was a whole different experience. He doesn't speak at all to Show more (On Michaelangelo Antonioni in 1983) He was a whole different experience. He doesn't speak at all to he actors. We filmed at night. I couldn't understand why we should be down on the set - but the result was good. Hide

I don't think success is harmful, as so many people say. Rather, I believe it indispensable to talen Show more I don't think success is harmful, as so many people say. Rather, I believe it indispensable to talent, if for nothing else than to increase the talent. Hide

(On Peter Brook in a 1983 interview) His approach is sometimes quite frightening because he reaches Show more (On Peter Brook in a 1983 interview) His approach is sometimes quite frightening because he reaches that part of you he wants to be sensitive - and it opens up incredible things. Hide

If I get concerned with what kind of part I would like to play, I would then start to wonder what ro Show more If I get concerned with what kind of part I would like to play, I would then start to wonder what roles would be good for me, good for my career, pleasing for the public. Life does not invite this choice and neither should films. Hide

Love is like the soup, the first spoonfuls are too hot, the last ones too cold. Love is like the soup, the first spoonfuls are too hot, the last ones too cold.

You have to know cold to appreciate warmth. You have to know cold to appreciate warmth.

I decided my glass would always be half full, never half empty. I decided my glass would always be half full, never half empty.

The love, suffering, and happiness I experience in life appear in my movies, become an integral part Show more The love, suffering, and happiness I experience in life appear in my movies, become an integral part of them. When I see a film after I've made it, I see my own life before me. Hide

I'm intelligent, but I'm not intellectual. I'm intelligent, but I'm not intellectual.

I never use the word "career", it's a journalistic term. I can't separate creation from life. I never use the word "career", it's a journalistic term. I can't separate creation from life.

(On Luis Bunuel in 1983) I called him my Spanish father. He said, 'If you had been my daughter, I'd Show more (On Luis Bunuel in 1983) I called him my Spanish father. He said, 'If you had been my daughter, I'd have tied you up and kept you behind bars.' Hide

One should never say, "When I was young . . . " One should never say, "When I was young . . . "

Passion is jealous. Passion goes up and down. Love is consistent. Fidelity, that's what love is abou Show more Passion is jealous. Passion goes up and down. Love is consistent. Fidelity, that's what love is about. Compassion, you give even more than you receive. That's what love is about. I'd hate to still be a victim of passion - I would think, God! I've lived all these years and I've learned nothing? Hide

I'm not measured. I'm not lukewarm. It's not always easy to live with for me. I'm not measured. I'm not lukewarm. It's not always easy to live with for me.

Every night, I go over what I did in the day, in ethical or moral terms. Every night, I go over what I did in the day, in ethical or moral terms.

Jeanne Moreau's FILMOGRAPHY - Page 2

All as Actor (40)

The Trial

The 400 Blows

Bis ans Ende der Welt

Ashes and Snow

Elevator to the Gallows (Ascenseur pour l'échafaud) [Sub: Eng]

Trois jours à vivre [Audio: French]

I Love You, I Love You Not

Jules and Jim

La notte (The Night)

Gebo et l'ombre

Going Places (Les valseuses)

Le dialogue des Carmélites [Audio: French]

Viva Maria (1965)

Touchez pas au grisbi

Jeanne Moreau'S roles

Christine

Grande Dame

Marika Burstner