A Quote by Armando Iannucci

I refuse to work evenings or weekends. If a script sees my character meeting for dinner, I put a line through the words and make them meet for lunch. — © Armando Iannucci
I refuse to work evenings or weekends. If a script sees my character meeting for dinner, I put a line through the words and make them meet for lunch.
I dont work weekends. Weekends are for my kids. And I have dinner at home every night when Im not physically directing a movie - I get home by six. I put the kids to bed and tell them stories and take them to school the next morning. I work basically from 9.30 to 5.30 and Im strict about that.
After I left school at 16 I had three jobs: I worked in a ceramics factory, where I made toilet handles, I repaired cars for people and in the evenings and weekends I worked in a bar. I had to do them all to make ends meet.
I try to have lunch or dinner with my parents on the weekends.
I meet Susan [Saradon], and she was amazing. We sit down to go through the script [Thelma & Louise]. I swear, I think it was page one - she says, "So my first line, I don't think we need that line. Or we could put it on page two. Cut this ..." And I was just like ... My jaw was to the ground.
I always tend to see, right after reading the script, the character and how I want to play it. I guess that's sort of most of the work, preparing for the role, but almost the creation of the character seems to go on as I read through the script.
I could make a long list of writers and directors and actors I would love to work with, but the exciting thing for me is the unknown; getting an email through with a new script attached, or meeting someone who is trying to make something.
When I became majority leader in Washington, I was interviewed constantly. I was always happy to talk to the press, but I drew the line at the Sunday morning talk shows on television. After a full work week consisting of long days and frequent late evenings, I insisted on keeping my weekends free for my family and friends.
If you have words and want to write music for them, the words hit you with a feeling which you can't really describe in words, and so what you do is to put music to them and in this way you make contact with the words, through the musical thing. It happens when two feelings come together and they do something together and they compliment each other.
The more limitations you put on a character, often times the better a character you'll make them, the more interesting the story becomes because the character can't simply wave a hand and make something happen. They have to work within the framework.
The more limitations you put on a character often times the better a character you'll make them, the more interesting the story becomes because the character can't simply wave a hand and make something happen. They have to work within the framework.
I can't sleep in the evenings. Most of the pictures people see of me are me going to work events: a Fendi dinner one night, a Prada dinner the next, and working all day.
I try to find out what there is in the character that in a way, you can't put into words. If I could put it into words, then it wouldn't be a performance. And if I do put it into words, as I play it, I start to get boxed in by those words.
If you wait too long between breakfast and lunch or lunch and dinner, you're more likely to be ravenous and overeat and/or make poor food choices.
As Danton sees it, the most bizarre aspect of Camille's character is his desire to scribble over every blank surface; he sees a guileless piece of paper, virgin and harmless, and persecutes it till it is black with words, and then besmirches its sister, and so on, through the quire.
I love the sitcom schedule. It takes a week to make an episode, but we don't work on weekends. I'm usually done in time to get home for dinner with my wife and daughter.
One should never refuse an invitation to lunch or dinner, for one never knows what one may have to eat the next day.
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