Jacqueline Bisset Quotes

I think I am an adult.

When I am working on a movie, all I want to talk about is the movie. All I want to be with are the movie people. It's like a clan. If I'm asked to people's houses for dinner, I hate to go, because they'll talk about other things.

You need to get in touch with your body ... do dance, movement, learn to be supple, or be someone who's coordinated, preferably. You have to study, train, and you don't have to go to school necessarily, you can teach yourself a lot of stuff.

I think the grandfather of the set is the director. He needs to have authority, to do what people want. A warm grandfather; he needs to know his job, to be open.

Like many people who don't easily commit, I think I had a fear of being known; I was not sure there was anybody inside there.

Ideally, couples need three lives; one for him, one for her, and one for them together.

I've done five films directed by women. I did like it. They had qualities, particularly in the romantic tenderness of scenes. I felt sometimes they were a little bit soft, but maybe they were clever to get the guys working the way they wanted them to.

The deeper interior you have the more you have in your llibrary.

I have never given up on men easily.

I'm a very nurturing kind of person and a sort of a homemaker. I'm just interested in things remaining fresh.

I consider myself a character actress, and that's working out. I'm getting chances to do things. I like the process - I don't want to pretend I'm something other than what I am.

I've always loved men.

Some people have said that I haven't got the parts I should've got because of the way I look.

There's something about being with a group of people who become like family that must be needed in society.

I went to see Oliver Stone's 'Heaven & Earth,' which I thought was a wonderful movie, but I walked out because I was so moved. It was too painful to watch.

I'm a perfectionist. I need to be needed. I need to do things for a man. But I don't need to do them as much, these days.

I grew up in a small town about 40 miles outside London, but it was a fairly cosmopolitan household.

I work very hard at relationships. I've done the thing of being home. I worked all day and came home and did all the stuff at home that a woman is supposed to do, the cooking and the entertaining. I'm a perfectionist, and, besides, I loved all those things.

I wanted to go to acting school, and I did a few modeling jobs to pay for acting school. I never aspired to be a model. I met lots of photographers, and I learned a lot about light - as a source of love and illumination, light as a gift of love. On film, that's a massive contribution.

Character contributes to beauty.

I'm either offered window-dressing parts in large movies or little art films no one ever sees. People think the movies I end up doing are my real choices. I do the best things I'm offered.

I had no aspirations to be part of American cinema ... I was really a Europe-based person, and those were the films I was inspired by.

You have to forgive everybody. It's the best beauty treatment.

I am a great lover of art, in many forms: paintings, objets, textiles. I don't have the talent for painting, but I have a very good sense of colour, a love of visual beauty.

I can't believe I've been doing it so long. In the last three or four years, I've slowed down. I'm doing only the roles I really want to do.

This film business, perhaps more so in America than in Europe, has always been about young sexuality. It's not true of theatre, but in America, film audiences are young. It's not an intellectual cinema in America.

Not everyone likes watching rushes, but it makes me work harder, and I don't feel I am watching myself, but watching the progression of the character.

There is an eternal humanity that crosses through all people, and it's more interesting often when it's about struggle - not people with champagne glasses.

I really feel that the talent I have is acting. Freedom and the possibility of play-that is what I like to have.

Your voice is your tool and represents you. It's very important to have a good voice where you can be understood.

I get called Jacqueline Bissette in America. In France, I get called Jackie Bisset. And actually, it is Jacqueline Bisset, which is not that easy to say.

I have watched people who have nothing to do with the film business, but who have become part of the circle for a short period of time. They can be truly devastated when the film wraps and people leave.

Time seems to stop in certain places.

I work hard, and I tend to play hard. I very seldom rest hard.

I have an intense obsession with making films. I not only love to make films, I perhaps need to make films.

People make sequels a lot in Hollywood, and sometimes it feels like there's never an original thought.

Of course, you see your body changing as you age, but it's more important to live than be too preoccupied with that sort of thing. I think ultimately what people care about in other people is the energy, the spirit.

I have emotional strings that tie me to Europe.

To be used in a part without depth is a frustrating feeling, when you know you have something to give.

Marriage has just never interested me.

If people choose to judge how you look, that's their situation. I didn't feel that it was a problem. I've played all kinds of parts. I've played glamorous, and unglamorous, and all kinds of people. People want to pigeon hole you, I think.

I'm quite happy being myself. I'm a big fan of Jessica Lange and Jeanne Moreau, but I don't want to be anyone else.

I'd like to get my public image nearer to my reality. People have a lot of misconceptions.

The people who've given me sh-t, I say - like my mother - what did she say? She used to say, 'Go to hell and don't come back.' However, however, however, my mother was not entirely me.

Working with Candy Bergen was really wonderful.

I want to keep my attractiveness as long as I can. It has to do with vitality and energy and interest.

I've probably understood men too well. I realise they are predatory by nature, and I have a certain acceptance of the male animal.

I have always watched the rushes, and have learned more because I have done so, because you can have all manner of ideas in your head, but they have to end up on the screen.

When you share work, and you have the opportunity of seeing people you like doing what they do best, and you also interchange socially with them, it's very addictive.

I have very intense conversations with friends, people I really interconnect with. We talk about politics, important things. I like to talk about ideas and get people to be specific.

I was never any good in the school theatrical productions. I always got a role like the March Hare. A Latin teacher told me I might make a good actress, and that stuck in my memory.