A Quote by Chris Chibnall
Growing up as a Brit, Arthur and Merlin and Camelot, and just the idea of it, is embedded in the culture and in your soul, growing up. King Arthur is alongside Robin Hood, as those great British folk tales, myths and icons.
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In Merlin, Arthur has a very loyal friend who keeps him on his toes. Arthur enjoys those challenges, and there is a lot of great banter between them. Meanwhile, in Arthur, Merlin has a friend he can really rely on. Merlin knows that when it comes the crunch, Arthur will always do the right thing.
I was very aware of the legend, from such an early age. Being a Brit, you are so aware of King Arthur, Camelot, Guinevere and Morgan, the witch. Merlin is this mad magician who's cloaked in mystery. It has that mystery about it. And, it's a lead role for a woman that's strong and has a real journey to take.
There have been so many different versions of the legend and of 'Camelot,' so what I wanted to do was strip it all back, and go back to the beginning and tell the story of Arthur, from the beginning of the relationship between Merlin and Arthur.
King Arthur and his armored goons of the Round Table functioned as the Politburo of a slave state: Camelot. Of all who have written on the Matter of Arthur, from Malory to White, only Mark Twain understood this. But Mark Twain was a great writer.
The big, big block in the Arthur/Merlin friendship is the status issue, that Merlin is the servant and Arthur is royalty, and in that time, princes did not socialize with their servants; that wasn't the done thing. It just so happens that their relationship, their friendship, is strong: they have been through the thick and the thin of it all.
I also wanted to have fun with it. I wanted to have the scope, which I felt Merlin has, in his Machiavellian bi-polar way. He's not to be trusted, yet he is fighting for this great power and is really a master, to some degree, in orchestrating Camelot and King Arthur. He's a strange, dark devious character, and I just wanted to have fun, and get away from the cloak and long beard and pointy hat.
Myths, as compared with folk tales, are usually in a special category of seriousness: they are believed to have "really happened,"or to have some exceptional significance in explaining certain features of life, such as ritual. Again, whereas folk tales simply interchange motifs and develop variants, myths show an odd tendency to stick together and build up bigger structures. We have creation myths, fall and flood myths, metamorphose and dying-god myths.
Because of the nature of King Arthur and the resonance he has, not only with within the U.K., but right around the world, I have found it a huge honour to play the part. I will look back on it very fondly and be very proud to have been King Arthur when I finally hang up the chain mail!
King Arthur is profoundly stupid and inept.. then there's Clive Owen, rising above it all. Aloof yet watchful, the actor cultivates an inner stillness that is perfect for faintly ironic brooders. He neither distances himself from this risible material nor pulls out the stops and opens himself to ridicule. His King Arthur tells us little about Arthur, but much about protecting one's flank. The mark of a box-office king?
Yet, there was once a king worthy of that name. That king was Arthur. It is paramount disgrace of this evil generation that the name of that great king is no longer spoken aloud except in derision. Arthur! He was the fairest flower of our race, Cymry's most noble son, Lord of the Summer Realm, Pendragon of Britain. He wore God's favour like a purple robe. Hear then, if you will, the tale of a true king.
I always wanted to be Robin Hood or John the Baptist when I was growing up.
Blood trickled down his chin as he was hauled up onto his knees, the golden rope securing his arms behind him and his ankles together. Arthur looked up and saw the fizzing sparkling crown coming down. I’m Arthur Penhaligon, he thought desperately... The crown was wedged tightly upon his head- and Arthur fell silently screaming into darkness.
Casting me as King Arthur was quite bold of 'Spamalot's producers, although it has been historically proved Arthur was Asian, and that Sunday trading started with Asians in 11th-century Britain.
I've just written a very gritty, non-magical take on the King Arthur legend, 'Here Lies Arthur,' and I'm currently toying with some other historical ideas, as well as working with the illustrator David Wyatt on some sequels to my Victorian space opera 'Larklight.'
I have tons of rescuing fantasies based on the movies I saw when I was growing up. I wanted to be Robin Hood and the Three Musketeers and the Scarlet Pimpernel.
Pretty much every society, every culture in the world has some version of the Arthur legend, so everybody knows it; certainly in the western world, everybody knows King Arthur, but nobody knows what happens next.
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