Catherine Deneuve Poster


Jump to: Overview (3) | Mini Bio (1) | Spouse (1) | Trivia (43) | Personal Quotes (38) | Salary (17)

Overview (3)

Date of Birth 22 October 1943Paris, France
Birth NameCatherine Fabienne Dorléac
Height 5' 6" (1.68 m)

Mini Bio (1)

Catherine Deneuve was born October 22, 1943 in Paris, France. Her parents were actors. She made her movie debut in 1957, when she was thirteen and continued with small parts in minor films, until Roger Vadim gave her a meatier part in Vice and Virtue (1963). But her breakthrough came with the excellent musical The Umbrellas of Cherbourg (1964), in which she gave an unforgettable performance as a romantic middle-class girl who falls in love with a young soldier but gets imprisoned in a loveless marriage with another man; the director was the gifted Jacques Demy, who also cast Deneuve in the less successful The Young Girls of Rochefort (1967). She then played a schizophrenic killer in Roman Polanski's Repulsion (1965) and a married woman who works as a part-time prostitute every afternoon in Luis Buñuel's masterpiece Belle de Jour (1967). She also worked with Buñuel in Tristana (1970) and gave a great performance for François Truffaut in Mississippi Mermaid (1969), a kind of apotheosis of her "frigid femme fatale" persona. In the seventies she didn't find parts of that caliber, but her magnificent work in Truffaut's The Last Metro (1980) as a stage actress in Nazi-occupied Paris revived her career. She was also very good in the recent epic drama Indochine (1992), for which she earned her first Academy Award nomination (Best Actress). Although the elegant and always radiant Deneuve has never appeared on stage, she is universally hailed as one of the "grandes dames" of French cinema, joining a list that includes such illustrious talents as Simone Signoret, Jeanne Moreau, Isabelle Huppert, and the younger Juliette Binoche.

- IMDb Mini Biography By: Thanassis Agathos

Spouse (1)

David Bailey (19 August 1965 - 1972) (divorced)

Trivia (43)

In 1995 she was chosen by Empire magazine (UK) as one of the '100 Sexiest Stars' in film history (#38).
An archetype for Gallic beauty, her image was used to represent Marianne, the national symbol of France, from 1985 to 1989.
In 1997 she ranked #89 in Empire magazine's 'The Top 100 Movie Stars of All Time' list.
Gave birth to her first child at age 19, a son Christian Vadim on June 18, 1963. Child's father is Roger Vadim.
Gave birth to her second child at age 28, a daughter Chiara Mastroianni on May 28, 1972. Child's father is Marcello Mastroianni.
Catherine is the second of three daughters born to the French actors Maurice Dorléac and Renée Deneuve (whose name she uses).
Sister of Sylvie Dorléac and Françoise Dorléac. Maternal half-sister of Danielle Dorléac.
She liked Breaking the Waves (1996) by Lars von Trier so much that she wrote a personal letter to him, asking him for a role in a film of his. The result of this is her part in Dancer in the Dark (2000).
Has never performed in the theatre due to stage fright.
Tribute at the Créteil International Women's Film Festival 1994 in France.
Was once fashion designer Yves Saint-Laurent's muse, who dressed her for the films Belle de Jour (1967), Heartbeat (1968), Mississippi Mermaid (1969), and Un Flic (1972).
Had a brand of perfume named after her.
She speaks fluent French and Italian, as well as semi-fluent English and German.
Marilyn Monroe is her favorite actress, and The Misfits (1961) is her favorite movie starring Marilyn.
Vice President of the 'Official Competition' jury at the '47th Cannes Film Festival' in 1994.
Former mother-in-law of singer Benjamin Biolay.
Her role in Mississippi Mermaid (1969) was played by Angelina Jolie in Original Sin (2001), the American remake of the movie.
Published her diary "A l'ombre de moi-meme" (In my shadow) in which she writes about the shootings of Indochine (1992), and Dancer in the Dark (2000) (2005).
Sang duets with Bernadette Lafont (1975), Gérard Depardieu (1980), Malcolm McLaren (1993), Joe Cocker (1995) and Alain Souchon (1997). In 1981, she released an album with songs of Serge Gainsbourg.
Designer of glasses, shoes, jewelry, and greetings cards.
Member of the international jury of the 'Shangaï Television Festival' in 1988.
Her performance as Séverine Sérizy in Belle de Jour (1967) is ranked #59 on Premiere Magazine's 100 Greatest Performances of All Time (2006).
She had a relationship with François Truffaut in the 1970s. When the relationship failed, Truffaut had a nervous breakdown. Deneuve attended his funeral in 1984 and later appeared in 8 Women (2002) with Fanny Ardant, who was Truffaut's partner at the time of his death and the mother of his youngest daughter.
President of the 'Official Competition' jury at the '63rd Venice International Film Festival' in 2006.
Guest of Belgrade Film Festival 2005.
"Me and Catherine Deneuve Split up" is a song by Eton Crop.
Song "Catherine Deneuve and the Deus ex machina" is sung by band Kelly and the Kellygirls.
Juan Antonio Canta sings a song called "Catherine Deneuve".
As of the 5th edition of 1001 Movies You Must See Before You Die (edited by Steven Jay Schneider), she ties, with Mae Marsh (most of whose performances amount to cameos), as the most represented actress with 7 films. Included are the Deneuve films The Umbrellas of Cherbourg (1964), Repulsion (1965), The Young Girls of Rochefort (1967), Belle de Jour (1967), Tristana (1970), The Last Metro (1980) and Dancer in the Dark (2000).
Has five grandchildren: Igor (b. 1987), Milo (b. 1996), Anna (b. 2003), Lou (b. 2010) and Mona (b. 2012).
Refused the role of Caterine Vauban in I Heart Huckabees (2004), which went to Isabelle Huppert.
Would have starred in a film adaptation of Ronald Kirkbride's novel "The Short Night" for Alfred Hitchcock, but the project was canceled during early pre-production stages in 1979 due to Hitchcock's declining health (he died the following year).
Auditioned for the role of Francesca Johnson in The Bridges of Madison County (1995), which went to Meryl Streep.
Refused the role of Tracy DiVicenzo in the James Bond film On Her Majesty's Secret Service (1969), which went to Diana Rigg.
Refused a supporting role in Basic Instinct 2 (2006), which went to Charlotte Rampling.
Was at one point going to star in an adaptation of Anna Karenina.
In January 11, 2012 she was named the 2012 recipient of the Film Society of Lincoln Center's Chaplin Award.
Is one of 12 French actresses to have received an Academy Award nomination. The others in chronological order are: Claudette Colbert, Colette Marchand, Leslie Caron, Simone Signoret, Anouk Aimée, Isabelle Adjani, Marie-Christine Barrault, Juliette Binoche, Marion Cotillard, Bérénice Bejo and Emmanuelle Riva.
In December 7, 2013 she received the European Film Academy's 'Lifetime Achievement Award'.
In November 2007 she received the Honorary Award at the 'San Luis Cine International Festival'.
She was awarded a Golden Palm Star on the Palm Springs Walk of Stars on January 18, 2000.
Considered for the role of Madame Maxime on Harry Potter and the Goblet of Fire (2005), but role went to Frances de la Tour.

Personal Quotes (38)

People who know me know I'm strong, but I'm vulnerable.
I'm lucky. I'm getting older with some directors who are getting older.
I don't see any reason for marriage when there is divorce.
To work is a noble art.
A star remains pinned on a wall in the public imagination.
But being a film actor is very different from, say, a theater actor. You get involved with a character after spending a long time waiting, and this demands a lot of energy and concentration. So I am very involved with the character, but I have to leave it as soon as it's finished. And also, you always have to be at the right level when it's time to shoot, which is not always the best time for the actor. Sometimes, if you're shooting a complicated scene, you have to stay in a position and wait for the technician to do his job, and then you have to be where you're supposed to be, right on the spot. You don't rehearse all that much on films. If I think of the amount of time I spend on set compared with the time spent shooting, it's ridiculously short.
But that's what I like about film - it can be bizarre, classic, normal, romantic. Cinema is to me the most versatile thing.
Directors have to push me because I never start [high] and then need to be pushed down; I have to be pushed up. Not all the time, but often.
I find sometimes that it's more difficult to do very simple, low-key films, like I've done with André Téchiné. Sometimes, at the end of a shoot with him, I feel very down, like I'm leaving something because these are low-key but novel characters. But when you do films like Repulsion (1965) or musicals, where you have to play someone so far away from yourself, what I do is I come in the morning and get involved in the character, but I'm always very pleased to leave it at night and have my life. No, I don't live that much with the character. I find it hard enough having to spend so many hours with the character during the day. Because you don't act all the time and you spend a long time waiting, but you still have to support this character all day long.
[on her looks] I know that if I didn't look the way I looked, I would never have started in films. That, I remember, and I know I have to accept it.
I like to be directed, it's true. If I didn't like that, I'd do something else. Being an actor means being an instrument for someone else.
I'm not always the nicest person to meet, because I forget very easily that I'm an actress when I'm not working. I live very normally, I go out with my friends, we go to the movies, I queue, we go to restaurants. Then if something happens to remind me that I'm an actress then I become a little different and things become a little heavy. I like the advantages; I know it's not right but I like being famous when it's convenient for me and completely anonymous when it's not.
Interestingly, people who have come to visit me on set - which I don't like - they're very surprised and say that I'm not the person they know. I'm not available to them, I cannot go off with them, I cannot get involved in their conversations, so they get the impression that they're seeing someone else. I tell them, yes, I do love to see them after a shoot, but during the shoot, I am with the people I work with. They ask, how can I stand being on a set waiting for so long, and that it must be so boring. And I have to explain that to wait, for an actor, is not at all like someone who's waiting to see the doctor. It's not the kind of wait where you get bored. Even if I try to think about something else while I'm waiting, I am living with the film, with the scene. But I do often feel tired during the day, and I'm lucky because I can go to sleep very easily, for even 10 to 15 minutes, even if I'm in costume or under a wig, so I do.
Interviews are written by someone else - the journalist makes the decision to add or take things away and I couldn't recognize my voice, or anything of myself in that.
What I don't like is close-ups, unless the actor is in the camera with me. I have to feel his presence. If I have to feel the presence of the camera before my partner's, it's very difficult. I love to do very long and complicated scenes. I like to have this impression that we are all working together, where you can see all the technicians and everybody is really doing the same thing at the same time. With close-ups, of course you have the crew there, but most of them are just around and it doesn't involve that many people.
[on Gene Kelly] It was mostly an aura about him. For me he was Hollywood. The way I'd imagined it as a child.
[on Jean-Louis Trintignant] I adore working with him. He's so generous, he doesn't play only for himself, but for his partner. He's also concerned with everyone on a set. That's why the technicians have great respect and tenderness for him.
[in 2008] I find cinema still very interesting. For me, to see a film, and to see a film and to be shown a story with actors that I like or actors that I don't know, it's always a discovery. I'm a great fan of films and I still go to see films in theaters. Even when I'm working, I try to see films. It's a desire, and it's something very important in my life. It's still something that I'm looking for, you know? It's like listening to music - it's part of my life.
My relationship to character is made up of mental things that you should not put words to. To do so would be immodest. The most decisive moment of my work around a character happens as we are shooting. That moment is so tense, so exhausting that once it is over, I need fire doors between the set and me. Back in my dressing room or in the hotel, I shut myself off, because the state I am in on set is too exhausting.
When we are filming, I can concentrate very quickly, but it does tire me out. It throws me into such a state! A trance-like state. So, what I need is either a trick for a calm type of trance or a sleepwalking trick.
I am incapable of working by myself without a director, without someone to coach me. But that doesn't tally at all with my idea of what a film character should be. I have to soak in what will happen on set, that day, the location, the light... I need to know what happens before in the story. To me, that is the most important thing: to relate to a character in relation to where we are in the film. Maybe it also has to do with the fact that I have never done any real character parts. Even with Tristana, which required a bit of character acting. But Luis Buñuel and I would talk off set, we had dinner together. The same is true of André Téchiné. We meet up but we always wind up talking about something else. And even though we have ended up talking about something unrelated, something useful has still come out of it. We have a conversation about something else but, at the same time, we are aware of what surrounds us, why we are here-the questions are very present in our head. But it is never straightforward. No, it is never straightforward.
[on director Michael Mann] I watched Miami Vice (2006) again. I hadn't really liked it the first time round. But even so, it's a whole other way of filming, it's fascinating. There is a force, an incredible energy to it. His films are very long, but there are no gratuitous shots. When he decides to film the nape of an actor's neck, there is a real tension. It's there, it's not at all . . . an effect. It's surprising. He makes you feel the weight of things.[Filmcomment,2008]
I was supposed to make a film with [Alfred Hitchcock]. It was set up north too, just like the Torn Curtain (1966). It was going to be a spy story. At the time it was still only a synopsis. I had lunch with him in Paris and he died some months later. I would have loved to work with him.
I do prefer to start without any intention at all, rather than arrive with my own idea. I am incapable of deciding what a character is. At the same time, from the moment I have accepted the part and read the script, I know that things will circle in my mind. It won't happen all the time but nor will it ever stop entirely. But I am not obsessed, I don't have any trouble getting out of character, at night. I am always happy when filming and I am always happy to leave at night - it's true that there is always a kind of a nervous fatigue. Which I know is hidden away somewhere during the shoot. There are some things that fall into place without me doing anything. I know that now.
I am shocked when people talk about me and sum me up as: blonde, cold, and solemn. People will cling on to whatever reinforces their own assumptions about a person.
Hollywood was already changing when I went there in 1968. I love American directors. I would love to work for Francis Ford Coppola or Martin Scorsese. But they don't need European actresses.
Why should I go to the States to do a film I wouldn't consider in Europe, just because it's English-speaking?
[in 2012] My mother turned 100 this year. She lives alone in Paris; very independent but near to me, and she is quite incredible. She has a very good head; she still plays bridge, she still wins. Longevity may be in my genes but I don't know if I will live to be 100 because I have not had the same lifestyle as my mother - she never smoked. It may be different for me.
I am a feminist through experience not choice. I was a feminist from a very early age because I am from a family of women, so it comes naturally to me. Over the years I have been involved with various causes for women.
My daughter is adorable. We are very close. Some people don't get on with their daughters and that is very sad. I am so glad and grateful that we have a good relationship. Working with her was wonderful.
I think the best decade of my life was between 40 and 50. Forty was the turning point for me as an actress.
I wouldn't want to be a young actress today. They are not allowed to be individual in their look. The film industry now is closely related to fashion, and actresses walking on the red carpet have to look like supermodels. In my day we had to look fantastic for a special event, but now an actress has to look perfect all the time because they know that if they don't, someone will take a picture, it will fly around the world on the internet and they will be finished. As a result, there is no individuality. They all look the same, like Barbie dolls.
[on smoking] It's great. I'm not proud of it, but I'm not ashamed of it either. It's getting harder and harder in Europe. I light up from time to time, and that's when everyone flashes a camera at me. Those are the only shots anyone ever wants to use. So i'm described as an inveterate smoker.
I like men who have a light spirit. It's OK to be serious about your work but in everyday life it's difficult to find men who are very alive and positive. In life I like people who are cheerful.
I have no fear of aging. I am still working. When you are young you suffer and worry so much more - everything is so important and serious, but with time things get better.
I could never have been a model in the way actresses today are expected to be; I was never thin enough. I love a wonderful meal at the end the day and a good burgundy. I try to be careful but I am not American - I am not always worrying about calories and working out.
The way a woman ages has much to do with genetics. My mother has very good bone structure, which I have inherited, and it certainly helps. My mother also gave me my two most important beauty tips - to be careful of the sun and to drink lots of water. Have I had surgery? Ah! That is very personal. I have no comment on surgery.
[on director Luis Buñuel]: Bunuel didn't like to talk too much. It would physically tire him. But we had a mute understanding.

Salary (17)

Indochine (1992) FRF2,700,000
Place Vendôme (1998) 480.000 euros
Le vent de la nuit (1999) 381.000 euros
Belle maman (1999) 610,000 euros
Pola X (1999) 274.000 euros
Le temps retrouvé, d'après l'oeuvre de Marcel Proust (1999) 305,000 euros
Est - Ouest (1999) 274.000 euros
8 femmes (2002) 457,000 euros + 9% of the gross
Nip/Tuck (2003) $40 .000
Princesse Marie (2004) 610.000 euros
Le concile de pierre (2006) 215,000 euros
Potiche (2010) €250,000
L'homme qui voulait vivre sa vie (2010) €250,000
Les yeux de sa mère (2011) €300,000
Les bien-aimés (2011) €300,000
Astérix & Obélix: Au service de sa Majesté (2012) €300 000
Elle s'en va (2013) €300 000

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