A Quote by Joanna Lumley

Film work is hard work. It's long days, and quite often quite dismaying locations you have to be in. — © Joanna Lumley
Film work is hard work. It's long days, and quite often quite dismaying locations you have to be in.
Quite often, I have to work hard to improve my technical capacity, if you will, before the demands of a new work come within reach. And I find that very stimulating.
You can have a great time on a film and the chemistry can seem great but then you look at the finished film and it just doesn't quite gel, something doesn't quite work.
I was one of the more talented ones at the design firm I joined, so I conducted my work pretty shrewdly. Except I wasn't a morning person, so I was quite frequently late for work. On top of that, it was a fairly big company, they were fussy about the dress code, and I got chewed out quite often.
I always get quite close to my script because I work quite hard on them.
Quite often - a lot of the work I had done had been extensively with women. Most especially in the theater, but also quite often in the movies. That has its own delights, and maybe pitfalls too.
Hard work certainly goes a long way. These days a lot of people work hard, so you have to make sure you work even harder and really dedicate yourself to what you are doing and setting out to achieve.
At school, I had to work really hard to get a D in maths. And I wasn't slacking off; I actually did work quite hard.
Here, there is simply no substitute for the kind of work that experimental psychologists do, work which shows some mechanisms to be quite reliable, and others to be quite unreliable.
And if you look at all this academic work in the conferences and so on there's a constant theme that terrorism is extremely hard to define and we therefore have to have a deep thinking about it. And the reason it's hard to define is quite simple. It's hard to find a definition that includes what they do to us but excludes what we do to them. That's quite difficult. So it takes a global war on terrorism.
Going back to my playing days, I was at Cambridge United for a couple of seasons, and, of course, Newmarket is just down the road. On my days off, I would go to Newmarket quite often, park up by the gallops, and watch the horses work. It was something else.
There's a level of discipline I use as a writer, designed to get better at what I'm doing, that requires quite a lot of study and quite a lot of hard work as well.
Quite a lot is required of writers these days in terms of, if not promoting the work, then being a representative of the work. It's a difficult thing, really.
I've done quite a lot of improv work before, and I wanted to do this film ["The Invisible Woman"] because it felt like a different technique. We were very true to the lines, and there was something quite formal and almost theatrical about it.
There's also a level of discipline I use as a writer, designed to get better at what I'm doing, that requires quite a lot of study and quite a lot of hard work as well.
I think often in film we limit our imaginations a little - well, quite a lot, actually things get quite formulaic.
I think often in film we limit our imaginations a little - well, quite a lot, actually... things get quite formulaic.
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