A Quote by Cary Grant
I suppose you might call me the sophisticated type. I like to act with dialogue. Not with grunts.
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There was a time when a certain type of Tory could have been relied on to swing from the chandeliers in defence of the rights of freeborn Britons. I suppose a lot of those Tories would have been what you might call 'one-nation Tories.' That tradition has died in the Conservative party.
I don't like to do what I call 'the grunters' - a character who sits at a table and grunts and young people make fun of. I turn a lot of those down.
I took the liberty in Snowboarding to Nirvana to do a type of parody of what I suppose you would call "New Age fiction."
We all have an ongoing narrative inside our heads, the narrative that is spoken aloud if a friend asks a question. That narrative feels deeply natural to me. We also hang on to scraps of dialogue. Our memories don’t usually serve us up whole scenes complete with dialogue. So I suppose I’m saying that I like to work from what a character is likely to remember, from a more interior place.
With dialogue, people say a lot of things they don't mean. I like dialogue when it's used in a way when the body language says the complete opposite. But I love great dialogue... I think expositional dialogue is quite crass and not like real life.
Because you're only thinking they-might-not-like-me-they-might-not-like-me, and guess what? When you act like that, no one likes you.
Obsessed? I don't know what the word means. I know there were times when I couldn't think of anything else. I used to stay in every weeknight in the hope that he might get free and call me. It felt like I had a disease I didn't want to get rid of. I suppose that's a definition of obsession, yes.
I like to step outside of what people's idea of me might be. I suppose that makes me a bit of a rule-breaker. I like to take chances.
I don't like it when people who are young act like they're 40. That's taking too much on. Putting up a shield and trying to act like you're so mature or whatever - I don't try to act mature. Some people might say I'm mature for my age, but it's not something I'm trying to do, you know? I'm just me.
People might not agree with me, but I think a woman should have a feminine shape, something you can get your hands on. You, on the other hand, look like you might be partial to the skinny type, a point of view I fully respect, don't misunderstand me.
When I go to the cinema, I want to have a cinematic experience. Some people ignore the sound and you end up seeing something you might see on television and it doesn't explore the form. Sound is the other picture. When you show people a rough cut without the sound mix they are often really surprised. Sound creates a completely new world. With dialogue, people say a lot of things they don't mean. I like dialogue when it's used in a way when the body language says the complete opposite. But I love great dialogue I think expositional dialogue is quite crass and not like real life.
There are different types of double act: the classic dumb-and-dumber, like Morecambe and Wise; the good cop/bad cop, where one's a bit spiky and the other's daft. Sue Perkins and I take what we might call the Ant and Dec approach: the double act came out of our friendship.
The Stamp Act was a direct tax imposed on the colonies by King George III. This act inevitably led to the American Revolution. Just as the Stamp Act did in 1765, Obamacare should act as a wake-up call. Chief Justice Roberts provides us with a similar call to action.
You might have, as a character, 30 pages of dialogue a day if you're what they call a 'front-burner story.' So you go home, you learn your lines for the next day, you get up, you're there at 7 in the morning, you do a quick rehearsal, you're on camera, you might leave, you know, at 7 at night and start the whole thing over again.
Rather than make claims of final theories, perhaps we should focus on our ever-continuing dialogue with the universe. It is the dialogue that matters most, not its imagined end. It is the sacred act of inquiry wherein we gently trace the experienced outlines of an ever-greater whole. It is the dialogue that lets the brilliance of the diamond’s infinite facets shine clearly. It is the dialogue that instills within us a power and capacity that is, and always has been, saturated with meaning.
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