Words matter. These are the best Anna Karina Quotes, and they’re great for sharing with your friends.
At the time we were all just very young people who wanted to have fun and do pictures in a different way than the old folks did it – make it all more spontaneous and more alive and more natural.
Quite simply, I owe everything to Jean-Luc. He taught me everything I know about films, about books, about art, about life.
Everyone thinks that Jean-Luc is an intellectual. But he’s very a sportive person too. He likes action. He likes people to be physical in their roles. They had to move a lot.
To make films one has to take everything seriously.
I have to tell you that we never had any scripts. Jean-Luc never wrote a script in his life. He would write the dialogue that morning before shooting.
I did Palmolive and Monsavon, which is two soap films, and you can’t do two at the same time. I was underage, see, so I didn’t really know. I didn’t realize that you’re not supposed to do two soap films at the same time. Because on one side of the Champs-Elysees there was Monsavon, and on the other there was Palmolive.
I’ve been writing short stories since I was a little girl.
I loved the films of Jean Gabin.
I’m always playing mostly the nice girl or the victim. I think it’s perhaps what directors think about me.
I went to see Gerard Philipe and Jean Gabin in pictures. Gerard Philipe spoke beautiful French, while Jean Gabin spoke slang. And after a while I realized that when Gabin said, ‘What’s up, lady?’ it meant the same thing as when Philipe said, ‘Good evening, madam.’
I left school when I was 14 to go into Danish films. When I was 17, I went to Paris to make my fortune.
You can always tell a man’s nationality by introducing him to a beautiful girl. An Englishman shakes her hand; a Frenchman kisses her hand; an American asks her for a date; and a Russian wires Moscow for instructions.
Many other directors, they have lots of scripts and they never rehearse as much, and you never really have time to be a part of it. With Jean-Luc, you always had time to be a part of it. It’s difficult to explain to normal people.
I always wanted to be an actress, ever since I was a little girl.
After a while, Godard was going to do ‘A Woman is a Woman’ with Sami Frey and another actress in the leading lady part but they couldn’t do it and so he had to find somebody else. I was not supposed to play the lead in it in the beginning – I originally had one of the smaller parts.
I always loved New York.
It’s always important to talk about what Jean-Luc did – for him, for me, for everyone.
Actors and actresses have done a lot of films with their legs, with their arms, with the whole crew and the camera. Why shouldn’t they be as good as a first-assistant director who has made three or four films? They’ve done it with their body!
Obviously when I came I wanted to live in Paris. I wanted to work or… if that didn’t work out… perhaps go away with a troupe of traveling performers – you must remember I was very young.
Every character is so different, if you put the photos next to each other, you see how different I looked and how different I tried to be. And that’s what I really enjoyed, that I could really be a different character every time.
Jean-Luc Godard saw me in a commercial. He first asked me to play a little part in ‘Breathless’ of a girl who is taking her clothes off. I said, ‘No, I don’t want to take my clothes off.’ But he called me again for ‘Le Petit Soldat.’ He said it was a political film, so I didn’t have to take my clothes off at all.
Jean-Luc is a person who has a lot of feelings, and he knows that to listen and look at a person is very important. You have to listen when you act.
I made films for soaps and I was the Coca-Cola girl for England. I did a lot popular films, too.
I had some bad times. We got married because, you know, I was pregnant. But then I lost the baby. Ups and downs. And then when ‘Bande a Part’ came along, I was in a really bad shape. I didn’t want to be alive any more.
‘Le Petit Soldat’ was banned in Paris; it wasn’t out in the movie houses. It was forbidden because it was talking about the Algerian war.