A Quote by Alan Cumming

I actually find in America, there's a slight snobbery about actors who go back and forth between big heavy dramas and popcorn fare. That always intrigues me, because that doesn't exist in the same way in Britain. And I imagine it would be worse. In terms of the sort of class, and the sort of snobby, slightly on the back-foot thing Britain has. But it's much more prevalent in America. I'm really intrigued by it. I don't know why that is. But I'm aiming to break down those barriers by being in a Shakespeare film and a Smurfs film within six months of each other.
I'm not one of those artists that can go away for six months and tour America and have 20 producers back in London or L.A. doing everything for me and I just come home and sing on it. It would be really useful, in terms of speed, to work like that. I just wouldn't find it creatively satisfying. I have to have my hand on the remote control.
I like dramas because there's a big overlap between film and fiction, so I feel relatively qualified to talk about plot and characterisation and that sort of thing.
When you're younger you don't care so much, but as you get older you have a family and stuff like that. But I've always kept my foot in theatre and I've kept my foot in independent film, so I'm really happy going back and forth. So, if I can't find the meaty roles in studio films, then I'll go back and dig up a little independent where I can flex my muscles a little bit.
The reason I live in America is because I mean literally every six or seven years I've done something in England. The last lead I had in an English film I did was 1998. So that's why I live here. It's because I get more work. I'll travel back for radio, you know what I mean. I've just got to consider myself to be living in the middle of the ocean, and that way I have a really nice career, if I'm prepared to do television, radio, theater, and film.
I always say to anybody who's going over to America for the first time, 'Whatever you do, go and see a popular mainstream film with a big audience.' Because people shout out. You never get that in Britain. Everybody's so quiet, scared to laugh. It's like being in church.
You know, in an ideal world, people would just be intrigued and go and see a film without knowing anything about it, because that's where you're going to have the most experience of a film, the biggest, the most revelation of a film. But at the same time, I think there are benefits of having seen a trailer where you actually look forward to seeing moments in a film knowing that they're coming up. I don't know which is better.
Because I'm a big guy, I was always playing the bad guy or whatever, but after I did 'The Blind Side,' where I played a father who's a really loving, likeable sort of person, a lot of those barriers were broken down. People saw me as something softer, not so much as a heavy anymore.
Nothing is forever, and I do still talk about when I'll come back to Britain. I'd love to come back and do a nice big juicy period drama. I don't understand it when people suddenly turn their back on Britain or Scotland. I'm so aware of it, and it's so much a part of who I am.
I could give you a long list of things I like about Britain, but essentially what it comes down to is that I feel about Britain the same way I feel about my wife. I'm crazy about my wife - we just kind of suit each other. I wouldn't say that she's the most fantastic human being that's ever lived, but she is for me.
I left Britain in the mid-1990s when TV was going down the cundy - another good Dundee word - because I wanted a film career. But as I get older, I find myself being drawn back to my roots, and I'm loving it.
So we [with Kate DiCamillo] would act them out, we would toss ideas back and forth, we would laugh, we would argue. Sometimes it went really well, sometimes it was such a pain in the ass. Our other rule was that we wouldn't work on it at all when we weren't in the other's presence. It was really hard not to do that. We'd start going on email back and forth, 'What do you think about this, what do you think about that?' But, no, no, no, it had to be live. So we forced ourselves not to look at it except during those two-hour stretches when we were actually with each other.
It would take six months to get to Mars if you go there slowly, with optimal energy cost. Then it would take eighteen months for the planets to realign. Then it would take six months to get back, though I can see getting the travel time down to three months pretty quickly if America has the will.
It kind of sounds pretentious, but a film I find deeply romantic is 'Buffalo '66,' which is a film by Vincent Gallo. It's about how you break down all those barriers and expose yourself and open yourself up to ultimately being hurt.
When I went to Sundance back in 1998, indie film was all the rage, and Miramax was throwing down five or six million dollars for several films each year. Those were the salad days of indie film, and those days are over. I'm not out there worrying too much about it.
It's the reason why so many people left Britain like I did in the mid 60s because Britain was exactly the same then as America is today, getting ready to redistribute social wealth and it didn't work. You've seen that in places like Greece, Portugal, Iceland, Ireland where the entire country's business has collapsed, gone bankrupt. That's where America is heading.
I have just as much right to stay in America - in fact, the black people have contributed more to America than any other race, because our kids have fought here for what was called "democracy"; our mothers and fathers were sold and bought here for a price. So all I can say when they say "go back to Africa," I say "when you send the Chinese back to China, the Italians back to Italy, etc., and you get on that Mayflower from whence you came, and give the Indians their land back, who really would be here at home?"
This site uses cookies to ensure you get the best experience. More info...
Got it!