A Quote by David Thewlis
I used to write out of angst. My writing was quite miserable, quite angry, even when it was funny. It was based on this sadness and tired emotional disdain for the world.
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For the Tintin books were my emotional universe. To read them felt quite simply like being loved: in advance and by an entire world of pure possibility, my future. But to write to the author was to reach out for the lover. Even today, the power of reading one remains visceral: each book acts as a form of transportation, not just to the emotional landscape of this first literary love affair but to very specific memories.
For some reason, people find me funny. It's quite hard to define why a thought is funny. It's even harder to define why a person would be funny. It's a word that I can't define at all. But whether I know quite what it is or not, I seem to be it.
I went on Love Island thinking I was quite headstrong but it turned out I was quite emotional.
I used to think she was quite intelligent , in my stupidity. The reason I did was because she knew quite a lot about the theater and plays and literature and all that stuff. If somebody knows quite a lot about all those things, it takes you quite a while to find out whether they're really stupid or not.
It's quite funny in that I once won Rear of the Year at my school! I was about 17 in the sixth form and we used to have an end of year celebration and give out different awards. I even got a little trophy!
At a Metro station, I got called out by my character name - Meera - and I realised that I had started responding to that quite intuitively. It was quite a funny moment.
My whole family are in the entertainment industry. It is always something I was used to; I was quite lucky growing up. To all my friends, it was quite exciting, but to me it was quite normal.
Certainly my films are cinematically unusual, and quite contemplative in their pacing compared to conventional films, but I think overall they are quite engaging, accessible, and even funny.
I realized that for many people attending a reading is like watching television at the end of a long day. They don't want to be sad but to laugh. Chances are they'll pick the sitcoms over the horror movies. So I learned that, while one's larger body of fiction can have quite a bit of sadness and conflict and tragedy in it , in a reading environment, the average audience member seems able to tolerate only a little bit of sadness. They'd much rather the reading be sexy, funny, and witty. Life is hard these days. There's more than enough sadness in the world, so I can't blame them.
Early British pop was helped tremendously by the writing of Bob Dylan who had proved you could write about political and quite controversial subjects. Certainly what we did followed on from what was happening with the angry young men in the theatre.
I used to quite like the idea of zooming in and out of traffic quite quickly, but when you get a decent car and kids in the back, you become more courteous.
Quite often, while I'm getting up in the morning, I think my warranty is running out on these body parts because it's not working quite the way it used to.
The Conquest is not a film about Nicolas Sarkozy - it's a film about political conquest. It's a Shakespearean expression, where we have all the elements of a drama, both political and personal at the same time. The decors and the costumes are all based on real photos - I wanted to be as close to reality as possible. Nicola Piovani's theatrical music gives a distance that's almost Chaplinesque, there's something quite funny. There's no imitation, no caricature, no parodie - it's realism with a distance where the dialogues are often quite funny.
The tales are quite hard to remember and I found that going back to it between bouts of writing fiction, I was having to retrace my steps quite a lot, because the stories are very intricate and the material is elusive, and possibly with age, my memory is not as malleable as it used to be.
It was quite strange, because it's quite different from singing, although it's quite natural because you're used to performing or acting on stage.
I quite like being removed from the industry stuff so that when we're not on tour and we're writing, we're in a small room and you can't get out physically. I like that mental checking-out aspect - I think it's quite nice.
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