A Quote by Julian Fellowes
What you have to understand about period drama is that it's 'history light.
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What you have to understand about period drama is that it's 'history light.'
I was incredibly nervous about doing a period drama. I thought that to play period, you had to be English-looking and blonde and very well spoken, and have gone to drama school.
If someone said, "Would you like to do the period drama?," I'd say, "Hell, yeah! I'd love to do that!" To dig into history and do a story in some period would be great.
The drama of light exists not only in what is in the light, but also in what is left dark. If the light is everywhere, the drama is gone.
I think when people talk about lighter drama, they tend to use that term, not derogatorily, but 'lighter' means sort of less to a degree, but if you're an actor, light drama is often mistaken for easier drama.
History in Burckhardt's words is 'the record of what one age finds worthy of note in another.' The past is intelligible to us only in light of the present; and we can fully understand the present only in light of the past. To enable man to understand the society of the past and to increase his mastery over the society of the present is the dual function of history.
The history of jazz lets us know that this period in our history is not the only period we've come through together. If we truly understood the history of our national arts, we'd know that we have mutual aspirations, a shared history, in good times and bad.
British period drama is always seen as kind of perfect and beautiful and lovely, but I don't think subcultures have been shone a light on like 'Peaky Blinders' has done.
I have been a part of four different genres - a political satire, gangster drama, thriller and period drama.
When the drama of history is over, Jesus Christ will stand alone on the stage. All the great figures of history ... will realize that they have been but actors in a drama produced by another.
'Confederate,' in all of our minds, will be an alternative-history show. It's a science-fiction show. One of the strengths of science fiction is that it can show us how this history is still with us in a way no strictly realistic drama ever could, whether it were a historical drama or a contemporary drama.
If you don't understand weapons you don't understand fighting. If you don't understand fighting you don't understand war. If you don't understand war you don't understand history. And if you don't understand history you might as well live with your head in a sack.
Nothing is forever, and I do still talk about when I'll come back to Britain. I'd love to come back and do a nice big juicy period drama. I don't understand it when people suddenly turn their back on Britain or Scotland. I'm so aware of it, and it's so much a part of who I am.
In PhD, my topic was Stage Techniques in Sanskrit Drama - theory and practice. I wanted to combine my drama training with Sanskrit drama, which has a very rich history in literature.
Something about the genre of period drama feels so quintessentially British.
I often tell people who want to write historical fiction: don't read all that much about the period you're writing about; read things from the period that you're writing about. There's a tendency to stoke up on a lot of biography and a lot of history, and not to actually get back to the original sources.
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