A Quote by Dominic West

I went to America to get away from constantly being cast in costume dramas, playing posh people. — © Dominic West
I went to America to get away from constantly being cast in costume dramas, playing posh people.
I'm 100 percent Irish by birth, grew up Italian, and yet I constantly get cast as playing Jewish.
I loved doing all those costume dramas. I didn't think, 'Ooh I've got to avoid being typecast' - you can't ever be dictated to by what other people think. I just do things because I fancy the parts and the directors.
I've done a few costume dramas, and people say, 'What was it like wearing the costumes? Did they really help you with your character?,' and most of the time it doesn't make any difference. You're wearing something a bit weird, and it's sort of uncomfortable, but it doesn't really have a huge impact on the part that you're playing.
That's the way I like my posh people, up front. I like the fact that Jack Whitehall will talk about being posh, or David Mitchell.
I never know what defines you as being posh. I went to a posh school, definitely.
At some point, you have to disconnect, if the obsession with playing a real person gets in the way of the movie at large. At the same time, we're all interested, as actors in trying to get as close to the real thing as we can, and whatever you can do in order to create that transformation feels fun and, for me, the furthest I can get away from myself is fun. It's all part of the costume, the accent, and all that stuff. It's about trying to get close without it being a detriment to the point of view of the story that you're trying to tell.
Without a doubt, the majority of historical period dramas tend to be told from a certain perspective. At least in America, black people have some visibility in period dramas, although it's usually in the form of slaves or servitude.
And weren't, when you got right down to it, particularly evil. Human beings mostly aren't. They just get carried away by new ideas, like dressing up in jackboots and shooting people, or dressing up in white sheets and lynching people, or dressing up in tie-dye jeans and and playing guitar at people. Offer people a new creed with a costume and their hearts and minds will follow.
I think I'm interested in these kinds of character dramas, psychological dramas, domestic dramas, whatever you want to call them - comedy dramas.
I play banjo, and in Britain, it's easy to get away with playing banjo because you don't often see it on U.K. stages. In America, people know when you're a good banjo player, so I was really nervous about playing out there. But we actually went down really well.
I auditioned for a one-act version of 'The Princess and the Pea' called 'The Ugly Duckling,' and I was cast as the King, starting a pattern of being cast in roles originally intended for men. I went to the first rehearsal, and I didn't get any laughs, and I choked and I quit. I walked away from it and joined the tennis team.
People look at me, they know I've appeared in costume dramas and they automatically assume I must be a Tory, I must be a certain type of person.
I didn't know we'd been tagged as posh. I went to a state school in London, so maybe people think I have a posh voice and that's where it comes from?
Fortunately or unfortunately, 'Baahubali' has become a benchmark for all historical-costume dramas.
There's just a feeling, when you're just an actor - I have great admiration for people who are just actors. I don't understand it, the idea of waiting to get cast, being at the whim of others. I find it incredibly powerless and frightening, so that's why I've been constantly trying to create my own content.
I'd always wanted to do costume drama, but period dramas often become very wooden. Just because they're born in the 1400s, all of a sudden people start losing their sense of humour or their personalities.
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