A Quote by David Jason
Working on 'Open All Hours' had some unexpected perks, not least the attractions of the canteen at the BBC's rehearsal studios in West London.
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If we were making a record in Kentucky, there might be some more elements that recall a time, a place, or a relationship. Recording for the BBC you enter into this strange and wonderful, but kind of sterile, place with which you have no personal history, and that's the Maida Vale Studios at BBC in London.
My first job was at the BBC but was really dull. I was working in the BBC's reference department, where I did a lot of filing. I had always been interested in films and theatre, so I thought that getting a job at the BBC would be a good idea, but the job was really mundane.
I don't think there is a sound UK bank now, at least, if there is one I don't know about it. The City of London is finished, the financial centre of the world is moving east. All the money is in Asia. Why would it go back to the West? You don't need London.
Once, BBC television had echoed BBC radio in being a haven for standard English pronunciation. Then regional accents came in: a democratic plus. Then slipshod usage came in: an egalitarian minus. By now slovenly grammar is even more rife on the BBC channels than on ITV. In this regard a decline can be clearly charted... If the BBC, once the guardian of the English language, has now become its most implacable enemy, let us at least be grateful when the massacre is carried out with style.
To state that the cost of proper medical care itself surpasses the financial resources of any of the countries in the West is of course ridiculous, not the least when one considers the other purposes for which money is freely being used and working hours spent.
When I was working actively, I used to be in the studios for 12 hours. I didn't have any time for my family.
I had no interest in filming. I sometimes went to the studios with my dad, but it was slow-going; it was boring to watch. I always ended up in the rehearsal hall watching the dancing. That's what I liked to do.
I had started working in television but it did not pay that much. I was 27, renting this little one-bed flat in Shepherd's Bush, West London, with a bathroom so small only someone of my size could actually get in it.
Everything in The Room, we did it the same way the big studios do it. The only difference is the budget and the actors. We put an ad in Back Stage West and in return we got almost 8,000 headshots from people who wanted to be in the film. We then do a process of selection and a rehearsal process after they are selected. The process of audition is very time consuming.
It was really inspiring to be in West London in the late 1980s and early 1990s, especially in Mark Lebon's Crunch Studios, where I met people like Ray Petri, Neneh Cherry, Judy Blame, Nick and Barry Kamen, Zoe Bedeaux, and Venetia Scott.
When I was 18 years old, I had a Saturday job working in a clothing store on London's Bond Street. I would fold T-shirts for ten hours at a time and get paid £19 for the privilege.
All you do is you go back to the Maida Vale Studios at BBC in London, and it feels like you're in a spaceship. It feels like you're in 2001 or something like that. It's massive and well constructed and highly technologically advanced and occupied by these wise scientists, engineers, and producers. Listening to it, it just doesn't sound like me - that's a younger self that didn't know who he was or what he was doing. I can't identify with a nebulous cloud.
I just adored working in London. It was in London where I first had the idea of making a film.
My mother worked in a school canteen - then worked in the canteen of a chicken factory. Every Friday, the pay packet money would be allocated to cover bills.
The best kind of travel – the kind I wanted to experience – involves a particular state of mind, in which one is not merely open to the occurrence of the unexpected, but to deep involvement in the unexpected, indeed, open to the possibility of having one’s life changed forever by a chance encounter.
I'm a kid who did stock and summer youth theater where we'd put up two shows and you had no rehearsal. I've also understudied, where I've had to go on with no rehearsal.
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