A Quote by Rowan Atkinson

[Maigret Sets a Trap] was always going to be the first film, and it seemed to be quite a nice story. But of course it meant that here I was playing this new character for the first time, in a place where he had been a relative failure, as all these people had been murdered and the pressure was on. Rather than starting optimistically with his pipe in front of the fireplace, he was in quite a difficult place.
The lights were off so that his heads could avoid looking at each other because neither of them was currently a particular engaging sight, nor had they been since he had made the error of looking into his soul. It had indeed been an error. It had been late one night-- of course. It had been a difficult day-- of course. There had been soulful music playing on the ship's sound system-- of course. And he had, of course, been slightly drunk. In other words, all the usual conditions that bring on a bout of soul searching had applied, but it had, nevertheless, clearly been an error.
His name was Michael R. Ross. I've never known what the "R" was for. He died, however, before I was 7. But he and I seemed to have had quite a nice relationship. He always called me grandlady, and he'd always talk to you as a person rather than as a child. So, I would go with him for his routes in his horse and buggy. So, my memory of him is pretty sharp, plus it has been accentuated by the stories that come out of the family.
I had been watching 'Home and Away' for quite a while, so joining the cast was quite weird. The show is so fast-paced, and at first it was overwhelming, but at the same time was quite laid back.
I've been dealing with pressure all life long. Coming from a very poor family in Haiti, moving to Paris, a new place, a new culture, a new language. I used that pressure to adapt, to do better than everyone else, and I moved around quite a bit as well.
When I did my first film, I had a fair idea of what I liked and what I didn't while watching an actor in front of the camera. After I finished the film, I thought I had exhausted everything I knew. As I moved from one story, setting and character to another, I discovered something new.
He was about to go home, about to return to the place where he had had a family. It was in Godric’s Hollow that, but for Voldemort, he would have grown up and spent every school holiday. He could have invited friends to his house. . . . He might even have had brothers and sisters. . . . It would have been his mother who had made his seventeenth birthday cake. The life he had lost had hardly ever seemed so real to him as at this moment, when he knew he was about to see the place where it had been taken from him.
A lot of the medical imagery has to do with my own biography. I had open heart surgery, I had knee replacements, I had a hiatal hernia, etc. Every time you go for surgery, you get a whole spectrum of imaging. Of course, I've been doing research in imaging technology across the board for close to twenty years. When you think about it, medical imaging is actually quite new. The first major medical image was the x-ray in 1895. That was the first time you got imaging of anything that's in the bodily interior.
My own people, the South Vietnamese, had been bombing trade routes used by the Viet Cong rebels. I had not been targeted, of course. I had simply been in the wrong place at the wrong time.
The first couple of weeks of filming were quite tricky for me to find my feet with the character [Maigret], which wasn't helped by the story that we were telling.
Certainly in the second film [Maigret's Dead Man], which is quite a more unpleasant and darker story, it's quite different in tone and feel.
I've always been scared of advertising folk. I've met them at parties and I've been to their offices and I've always found them intimidatingly cool. At one company I visited, they held their meetings in a caravan that had somehow been installed in the place, a rather more exotic place to gather than the typical BBC glass box.
I've been fortunate with my acting career. A lot of scripts come to me. I don't mind auditioning if something that requires that, but I haven't had to in awhile, which is a nice place to be 'cause I've been on quite a lot of auditions in my life.
I had a bad time in school in the first grade. Because I had been a rather lonely child on a farm, but I was free and wild and to be shut up in a classroom - there were 40 children on those days in the classroom, and it was quite a shock.
I thought his performance was absolutely wonderful and had said so, but he seemed, as actors quite often are when they first see something, to be disappointed. I think he expected more from the film and himself.
It is impossible to be submissive and religiously patient, if ye stay your thoughts down among the confused rollings and wheels of second causes, as, O, the place! O, the time! O, if this had been, this had not followed! O, the linking of this accident with this time and place! Look up to the master motion and the first wheel.
The Taboo scene was a kind of deconstructed version of the New Romantics. The Taboo crowd was using a lot of the visual ideas that had already been used. I remember the first time I spotted Leigh Bowery and Trojan parading around in clubs: They were in their "Pakis from Outer Space" look, and the makeup was quite similar to one of my old looks, because I was quite fond of wearing blue, green, or yellow foundation, and so I was pretty dismissive of them at first.
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