We meet in Charlotte Ramplings apartment in the 16th. Arrondissement, a sprawling Parisian apartment. She's just more into the center, she says. White spots on the walls, a painting by the Dutch Neorealisten Mark Brusse still hangs. With the Collecting of contemporary art Rampling had started with the musician Jean-Michel Jarre, her husband from 1976 to 1996. She paints also. Rampling shows me one of your images, an elongated Giacometti-like Alien on a black background, funny and melancholic. In October, she has been in London, her first exhibition. Rampling is asking me on her Sofa, she takes on the other end of the place.
Madame Rampling, in the rooms, there's lots of small boxes for the move, with open lids. You will feel so as an actress: how an empty box, in the other something to put in?
It is at the beginning of each Time an unpleasant feeling. I can't change my physiognomy. I am always I, and this I must I peel off like a skin.
In Visconti's "The Damned", in the homage of the Berlinale, they will sit as a stunningly beautiful young Baroness in front of the vanity mirror. Who they were, over 50 years ago?
Because of this strength, an attitude of mind was always a great presence. My films are my visual biography, on my first Film – no not a British Comedy, I have this awful high – pitched voice, but in "Georgy Girl", my first main role, I suddenly saw something of my essence. I made it clear to me, how beautiful I was, how talented, how clever, because I was suspicious: don't get cocky, because then the bad Fairy comes. You think you're beautiful? Zack, someone destroyed your face.
Visconti had the reputation to be a bully. How have you experienced him?
I've even lived with him for a while. I was in the middle of flown in the night from my small Pension in Rome, and Visconti looked at me with my big suitcase in the film Studio, he said that I should come with him. Oddly enough, me intimidated, never anyone seriously. Visconti hired me, he wanted me for the role, why should I be afraid? He was the experienced Director, I, the young actress, but one day I would be learn the same way. The company works on control and Power, but it is wrong for people to intimidate each other. When people say it they would be intimidated, that I'm famous, I feel it almost as an insult.
at The award ceremony to be running your most controversial Film, "The night porter" by Liliana Cavani, the love story between a Holocaust Survivor and concentration camp guards.
It is an emblematic Film. In the life of every actor there's one or two of them. I came because of a wacky movie unprepared to the Set and First we shot the dance scene ...
... in which you sing bare-chested in front of Nazi soldiers: "If I could make a wish".
We'll jump into the abyss. Too much awareness is not good in my profession, it is more like an innocent, childish game: I dress up and create a world. From the Holocaust, I had only a vague idea and suddenly I played the scenes in the concentration camp. I am a British citizen, a child of the post-war period. You built up the country again, the Holocaust was a topic in the Public, not only in Germany. For Dirk Bogarde, it was different.
The actress Charlotte Rampling, Born in 1946 , was one of the It Girls in Swinging London, before she made Visconti's "The Damned" and Liliana Cavanis "The night porter" Furore. She starred in over 100 movies. For "45 Years", she received 2015 Silver bear, European film award and an Oscar nomination. This Thursday they will be awarded in the Berlinale Palast with the honorary Golden bear. Among the eleven films in the tribute to one of Oshimas "Max, mon amour", the ozone title of "Under the Sand" and "Swimming Pool", Laurent Cantes "In the South" and Angelina Maccarones documentary "The Look".
He played the concentration camp guard and was in his time in the military in the liberation of Bergen-Belsen.
He talked a little about it. We both wanted to, above all, that it is less a Film about guilt than about an impossible love. I don't know if the question Set was discussed whether one can formalize the enormity of the Holocaust at all fiction. I always went fast in my caravan. In one scene we stood, naked, for the selection, because I am broken. But it has shaken me, for Once and for all. Pure szenierte story is an incredibly effective therapy.
The movie made scandal. How did you get along with it?
I'm an old soul. Also young people can have old souls. I had just become a mother, we were in New York, there was a premiere party at the Ritz or one of those fancy Hotels, Mick Jagger and all the hip people were there. And the reviews came out, in a loud new York times.
The great Pauline Kael attacked you in the "New Yorker".
I knew it would blow me away, so I said let's go. We left the Party, Party, I, the Interviews said. So I saved myself time and again: I went in time.
In "the night porter" have you suddenly, a deep voice, your voice.
I endured my croaking voice, and went to this wonderful teacher, Helen Goss. The Transformation was fast, I just had to find my natural height. But otherwise, I don't like, at the theatre in London, I didn't like it. I felt uncomfortable, got in a bad mood and behaved badly. I had selected Yes, and I was good, so why practice and a Director listen to? I love the theatre, but it was not mine.
it Has to do with the audience?
Yes, you sit there, staring at me, a beast in the dark (leans over and spits).
With the camera is it different?
The camera lens has something magical. I go with her on a mythical journey into the Innermost part of the Inner, all the way back to the Paleolithic. It captures every one of my emotions.
The theater audience is doing the same thing.
But the Film I'm not there when you stare at me. I can't take the exposed to be only up to a certain degree. It is exceeded, exploded something in me, and I'm going to the volcano. Maybe I survived because of that. Every artist has some Manic-Depressives. We coups us to emotions, to revive a false or artificial world with our heart's blood, are high when we are working. After that, you feel lost, lonely, and foreign. Some of the actors, therefore, try to always remain high. I'm different, I need periods without Stimulation.
But you prefer the difficult roles. Your figures give pelts.
I don't want to waste my time. I want to immerse myself in a character. When I was young, I loved the heroines of the Thirties and forty years, Katherine Hepburn, Bette Davis ...
Berlinale 2019 Ehrenbär and homage to Charlotte Rampling
... the women with deep voices.
you were the man's wives, but incredibly feminine. They had the hearing, said, what you think, and if you suffered setbacks that encouraged you. In the sixties there were other images of women, but I wanted to these roles, the catapult something into the world.