A Quote by Carol Drinkwater
I was educated at a convent in Kent. It was run by Irish and French nuns. I mostly hated it but they did allow me to follow my passion for drama, writing plays, performing, and directing my works.
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Growing up in an old-fashioned Bengali Hindu family and going to a convent school run by stern Irish nuns, I was brought up to revere rules. Without rules, there was only anarchy.
I always loved theater and acting in plays and directing, writing little plays and directing friends in plays.
I went to an all-girls' Christian convent school run by nuns. It was fun, but when I was 15, I said, 'Mum, that's it - I need to go where there are some boys.'
I became a writer not because my father was one - my father made false teeth for a living. I became a writer because the Irish nuns who educated me taught me something about bravery with their willingness to give so much to me.
Even as a small child, I wondered why the Dominican nuns who educated me were subservient to the Jesuit priests who educated my brothers.
I was inspired by Colin Farrell in the fact that he's Irish and has freckles but with black hair. I'm a bunch of different things, Irish Polish, Native American, and French, but I wanted to tap into that Irish side and be freckle-y with black hair, so that's what I did.
I was inspired by Colin Farrell in the fact that he's Irish and has freckles but with black hair. I'm a bunch of different things, Irish, Polish, Native American, and French, but I wanted to tap into that Irish side and be freckle-y with black hair, so that's what I did.
Nuns fret not at their convent's narrow room; And hermits are contented with their cells.
Marathoning is a metaphor for life, so there are a lot of parallels you can draw. I tell people to follow your dream, follow your heart, follow your passion, run your own race and believe in yourself. I think anybody who wants to succeed has to have passion. My love for this sport, you can't instill it in someone else.
I've been pretty well treated by the critics, but the critics who didn't like my comedies hated them with an unbridled passion, and then I would see these same people writing very respectfully about ordinary naturalistic plays.
For me, the real goal is to integrate. The thing that I'm most happy with is the fact that I've been able to keep doing all of it - to keep writing, and to keep acting in movies, and to keep acting on the stage, to keep directing plays. I find that they feed each other, and that I learn about acting from directing and I learn about writing from acting.
I'm always writing. A friend of mine once said, 'You avoid re-writing by writing.' Which is kind of a good point, because re-writing seems to be mostly about craft, and writing is just, like, getting out your passion on a piece of paper.
I lay my eternal curse on whomsoever shall now or at any time hereafter make schoolbooks of my works and make me hated as Shakespeare is hated. My plays were not designed as instruments of torture. All the schools that lust after them get this answer, and will never get any other.
There's always a great hue and cry when you sign onto a "remake," and that's always been sort of annoying me and freaking me out. This profession that we're in is drama. What drama has been since the beginning is, you restage plays with new casts, or a writer will take a new run at an old story.
As a kid I was always writing and directing plays in my basement with my neighborhood cronies. But please don't get me wrong, I have zero regrets when it comes to the acting stuff. I think it's made me a better director.
When I'm directing, I'm pretty much not writing, but when I'm not directing I am writing a lot. It's strange: people have asked me what my schedule is and what is my process like, and I can't even answer it. I don't keep regular hours.
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