A Quote by Imelda Staunton
I adore Bette Davis and Vivien Leigh, but more because they were good actresses. That’s what makes me interested in them, that they didn’t present themselves as idols; they were just doing their jobs.
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I adore Bette Davis and Vivien Leigh, but more because they were good actresses. That's what makes me interested in them, that they didn't present themselves as idols; they were just doing their jobs.
Old Hollywood icons such as Marilyn Monroe, Vivien Leigh, and Bette Davis are so inspiring; their style is romantic and feminine and their glamour mesmerizing. I love the idea of channeling that spirit on your wedding day.
I loved working with Bette Davis. Bette Davis was great to work with and a wonderful teacher, and very kind to me. We became good friends.
She was obsessed with French and Swedish cinema. I also remember our mother showing us 'Gone With the Wind' very early on. She absolutely loved Vivien Leigh, so it must have been a formative experience for me, thinking, 'Oh, maybe one day I'll be like Vivien Leigh.'
Coming from where I came from, the Midwest, in the era I was born, the '30s, movies were glorious fun - Bette Davis dying or whatever. But whatever they were, they were not serious.
There are loads of actresses that modelled. They just weren't famous. There weren't a lot that were really known as models that became actresses, but there are hordes of them that did modelling before such as Anjelica Huston, Jessica Lange, Sharon Stone, Demi Moore and Geena Davis. There are loads of 'em.
Apparently, Bette Davis and a lot of actresses had a hard time in their 30s, too.
People talk about the golden age of Hollywood because of how women were lit then. You could be Joan Crawford and Bette Davis and work well into your 50s, because you were lit and made into a goddess. Now, with everything being sort of gritty, women have this sense of their use-by date.
I only wrote two fan letters in my life. One was to Bette Davis. And one was to Ron Palillo, who played Horshack on 'Welcome Back, Kotter.' And Ron did not write me back, but Bette Davis did.
I was very much raised by my grandmother, who actually was Bette Davis - looked like her, acted like her, talked like her. Probably, it was just out of my love and affection for my grandmother that I was interested in Bette.
I just have always been so interested in the way actors and actresses present themselves to the world because I think it is very important and it affects the way people see you as an actor.
When I first watched Bette Davis in 'All About Eve', I was struck by how much I felt that she is Margo Channing and that she's Bette Davis, where she was able to do both, where you're like, 'What an icon.'
It always did bother me that the American public were more interested in me than in my work. And after all there is no sense in it because if it were not for my work they would not be interested in me so why should they not be more interested in my work than in me. That is one of the things one has to worry about in America.
Oh, yes, we were on location with Another Man's Poison, which I wrote for Bette Davis.
A lot of the former Idols were voting for me, and that makes me feel really good.
In fact a lot of them I think are absolute baloney. Those Charles Olsens and people like that. At first I was interested in seeing what they were up to, what they were doing, why they were doing it. They never moved me in the way that one is moved by true poetry.
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