A Quote by Julia Davis
I love all Daphne du Maurier's stuff. And just enjoying period dramas, really... wanting to do something drastically different from 'Nighty Night', the chance to write very different language.
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'Rebecca' by Daphne du Maurier was the first grown-up book I read, when I was aged about 12.
I must confess I love female writers: Jane Austen, Isak Dinesen, Colette, Willa Cather, Dawn Powell, Joan Didion. I grew up on the Bronte sisters, and Daphne du Maurier.
When writers for adults contemplate Venice, they behold decay, dereliction and death. Thomas Mann, Daphne du Maurier, L. P. Hartley and Salley Vickers have all dispatched hapless protagonists to Italy, where they see Venice - and die.
Traditional autobiography has generally had a poor press. The novelist Daphne du Maurier condemned all examples of this literary form as self-indulgent. Others have quipped that autobiography reveals nothing bad about its writer except his memory.
I'm really enjoying being able to do these unhinged comedies and emotional dramas alike. I'm having a lovely time. After shooting a role that requires months of crying, it's quite nice to be able to play something very different.
My first six books were horror, I think because when I was young I loved Stephen King. John Wyndham, Daphne Du Maurier, and it's natural to try and emulate the books you first loved.
I just feel like TV takes more risks than film. Film has gotten very safe: it's very compartmentalized about what type of things will be successful. And whereas in TV, since all these new platforms opened, they're saying to writers, go out there, write the most different show that you can write. Write something that's really original and different.
I love musicals but it's very, very different. It's really just a different form than serious drama, and has very different rules and a completely different set of characters and requirements and ambitions. It maybe shouldn't be as separate as it is, but it's got a different history. In terms of serious drama, I think you'd have to say that you could break it down essentially into the narrative realist tradition and experimental theater.
You just never see people of different ethnicities in period dramas.
I've got to take a bit of a break from science fiction. As much as I've loved this stuff, I'm ready for a different century or a different time period as an actor, as an individual. Something that's, what's the word, something that's not involved with spaceships.
I love to learn, and I started doing a lot of studying of Spanish-style music and really started getting into it and how it is just a completely different form of guitar playing. It is just like if you started speaking in a different language like Japanese or something. It is something that you have to study and work at a lot.
The techniques of different directors are very different, and people have different ways of expressing ideas in film. I'm happiest when working with a director as I would be if I were an actor. I'm wanting to provide a really good performance.
Whenever I get a chance to work in a different language, or in a different accent, or anything like that, I'm game. I think it's a great challenge and something to be done.
I did 'Little Dorrit' a few years ago; I really love doing period dramas. It's stuff like that I really enjoy watching.
I love science fiction, and one of the things I love about it is that it's so very different. You can read stuff that's just fast-paced adventure, and the characters are cardboard, but who cares, because they're heroes, and we love it. And you can read stuff that's really deep character, and everything in between.
I think it's about the feeling more than a language. And I think that we and every culture in the world has to keep their own language just to bring something else, something different, and show a different vision of the world, actually. And that's why I'm trying to keep my language.
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