A Quote by Andrew Tudor

Contemporary audiences, other than those making a deliberate historical leap, would find, say, the 1931 'Dracula' impossibly slow. — © Andrew Tudor
Contemporary audiences, other than those making a deliberate historical leap, would find, say, the 1931 'Dracula' impossibly slow.
Some critics said, 'Hey, why are you writing historical novels?' I say they're not historical, they're contemporary, because people walking around who lived through this, even a little bit, they carry it inside. The contemporary isn't just what you can see now.
I do like the idea of the novel of repressed college students being a contemporary novel of courtship! I guess what I would say to that is, we tend to think of historical periods and historical mores as ending a lot more concretely than they do. Like, in an Austen novel, there are lots of reasons - cultural, moral, religious - why the characters don't have sex during courtship. Maybe, even though those reasons have kind of expired, historically, they're still around in some sense.
It's funny, the power of music. I was watching 'Dracula,' the 1931 version with Bela Lugosi, and the only music you hear is at the very beginning of the credits. There's not one other piece of music; it's all silent. It's unbelievable, and it's very effective, too.
I go to contemporary galleries all around the world when I can. There's always something historical and something contemporary; those are my rock references.
Anyway I read more contemporary poetry than contemporary fiction so my mind goes first to a kind of crass "conceptualism" that repeats vanguard gestures of the past minus the politics and historical context.
Say what you want, I still think Dracula One and Dracula Two are creep-tacular.
Ultimately it's a leap of faith and a leap of imagination to put yourself back in time into those conditions and situations and see how you would react.
The other, the other aspect when I say I'm an actor is that as an actor you make this imaginative leap into being somebody else, that's to say the muscle of the imagination is as important as any other of the muscles in your body, and so it is something about this instinct in space and time which for me I associate with being an actor rather than a director.
To be in something as iconic as a Dracula film, and to be playing Jessica van Helsing, who would have been Dracula's choice for a bride, through history and beyond the grave, was a thrill.
I wanted to play Dracula because I wanted to say: 'I've crossed oceans of time to find you.' It was worth playing the role just to say that line.
He's worse than Dracula because at least Dracula comes out of his coffin now and then. He seems to stay on his line and that's it.
I've likened Mignolet to worse than Dracula because at least Dracula comes out of his coffin now and then. He seems to stay on his line and that's it.
For me, Dracula has always been associated with travel and beautiful historical places.
I can honestly say that there are many forms of atheism that I find far more admirable than many forms of Christianity or of religion in general. But atheism that consists entirely in vacuous arguments afloat on oceans of historical ignorance, made turbulent by storms of strident self-righteousness, is as contemptible as any other form of dreary fundamentalism. And it is sometimes difficult, frankly, to be perfectly generous in one’s response to the sort of invective currently fashionable among the devoutly undevout, or to the sort of historical misrepresentations it typically involves.
In those days I would go for an interview and find myself competing with this other chap who would always be younger and taller, and much handsomer than I.
I never want to make a film. I don't wake up in the morning going, 'Ooh, I'd really love to be on set making a film today'. I'm aware that other contemporary film directors perceive film-making as what they do, as what they have to do. But I would hope that I am more catholic in my tastes.
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