A Quote by David Warner
There were certain young actors I had trained with at the Royal Academy of Dramatic Art who had always got the big parts and I was always the spear-carrier. Suddenly the roles were reversed and I couldn't understand why, and nor could they.
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I had a teacher/director at the Royal Academy of Dramatic Art, where I trained for a year, named Mary Duff, who taught me practically everything I know.
I remember when I first came to Los Angeles being staggered by the range of roles open to me. These were leading parts in shiny new projects, and what always excited me was knowing there was a possibility that I could actually get these parts. I always had the impression that I had a chance.
I went to the Royal Academy of Dramatic Art because it was the only drama school the social worker had ever heard of. Luckily, I got in at the first attempt.
The oppressed always learned from and copied the oppressor. When the tables were turned, the stage was set for another round of revenge and violence -- roles reversed. And reversed and reversed ad nauseam.
I was at the Royal Shakespeare Company, where I thought, in my naivete, I'd stay for the rest of my career. I'd thought I'd work up through the ranks and go from spear carrier - or in my case, the eunuch, which was several rungs below the spear carrier - to King Lear.
May I say, if you were suddenly put into a woman's body, wouldn't you be slightly interested in your breasts, and why people look at certain parts of you, and why certain parts move like they do?
The women all had big minds because they were big animals, but they didn't use them for this reason: unusual ideas could make enemies and the women, if they were going to achieve any sort of comfort and safety, needed all the friends they could get. So, in the interest of survival they trained themselves to be agreeing machines. All their minds had to do was to discover what other people were thinking and then they thought it too.
Too many young actors are strutting about and doing films without having developed some of the depth you need to bring off certain kinds of roles. I think that's the problem with the system, where a lot of younger actors who haven't had a chance to develop suddenly become stars.
I did roles that I hated, and there were roles that were detrimental to my acting ability. There were roles that I was always doing that were always the comic relief... it was destroying my soul.
If these were my last moments on earth, I’d spend them fighting to save him with everything I had. If our roles were reversed, I knew he’d do the same".
By 1961, when I got my first copywriting job, 'my kind' were suddenly in demand. The creative revolution had begun. Advertising had turned into a business dominated by young, funny, Jewish copywriters and tough, sometimes violent, Greek and Italian art directors.
We had a moment in the '40s and '50s, where female characters were very strong in film, where these incredible roles were written for women like Joan Crawford, like Bette Davis. But then there was a space of time where - I don't know why - it wasn't like that. It became difficult for women to find certain roles after a certain age.
Of all the recruits in his cohort, he had learned the quickest. How to hold the spear, how to stand to spar. He’d done it almost without instruction. That had shocked Tukks. But why should it have? You were not shocked when a child knew how to breathe. You were not shocked when a skyeel took flight for the first time. You should not be shocked when you hand Kaladin Stormblessed a spear and he knows how to use it.
I, perhaps, at that stage, had the kind of ambition that others may have had; you know, namely based on the concept that if you were trained the world was out there waiting for you to provide a certain kind of leadership and give you an opportunity. But with the Depression, I began to see that there were certain social forces over which the individual had very little control.
When we were studying at the Royal Antwerp Academy, we were taught to seek inspiration from everyone, everything and everywhere. My parents and grandparents were also a great inspiration for me a very young age.
When we were studying at the Royal Antwerp Academy, we were taught to seek inspiration from everyone, everything and everywhere. My parents and grandparents were also a great inspiration for me at a very young age.
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