A Quote by Lara Pulver

I'm so bored of reading scripts with these wonderfully complex male roles, yet the woman character just sits on the bed waiting for him to come home. — © Lara Pulver
I'm so bored of reading scripts with these wonderfully complex male roles, yet the woman character just sits on the bed waiting for him to come home.
A man would prefer to come home to an unmade bed and a happy woman than to a neatly made bed and an angry woman.
When you're younger, you get scripts that you are too young for and now I'm getting scripts, which I think, "I'm too old for this character." They can always shift things around to make it work and make the ages work. But I'm definitely getting more complex and interesting roles and less what you would expect. So I can experiment more and have a bit more freedom when I'm putting things on tape.
I'm waiting for better scripts to come my way, especially because I'm aware that there are people who are waiting to see me come back; and I don't want to disappoint them.
I feel like the scripts were so wonderfully written in the sense that my character in '1666' and my character in '1994' mirrored each other in a really nice way. They're both so strong, empowered, determined, and passionate.
The great thing about reading for Quentin [Tarantino] is you're not reading for him, he's reading with you. So he sits right next to you.
Women have always been seen as waiting: waited to be asked, waiting for our menses, in fear lest they do or do not come, waiting for men to come home from wars, or from work, waiting for children to grow up, or for the birth of a new child, or for menopause.
When you're reading, like, a character's thoughts, or when it's in first person, you're reading kind of their own story, so you have the opportunity to see what makes that character complex or complicated. And to me, that's what the whole point of fiction is.
There are many great writers out there and, actually, great scripts. The problem is - and this is what I've always felt, even when I got out of school and started reading scripts - the really smart, character-driven stuff tends to be smaller films, and they just don't get made.
In novels you're able to occupy character's internal thoughts and it's really hard to do in a film or a TV show. When you're reading a character's thoughts or when it's in first person, you're reading kind of their own story, so you have the opportunity to see what makes that character complex or complicated. And to me that's what the whole point of fiction is.
There was a time when men thought it was sexy to have a housewife waiting for him to come home from work in her slippers, but in modern society, I think an independent woman is even more sexy.
For every movie that you go see, how many leading male roles are there in any given movie, and how many leading female roles are there? There may be 5 or 6 really good roles for guys and maybe one for a woman. And it doesn't even matter if you're 25. That's just the logistics.
I give preference to scripts and of course, the importance of my role in the storyline. Still I am not after hero roles. I take such roles only when I find the scripts exciting.
Sometimes you just dread reading scripts; it's like the chef who doesn't want to cook at home.
I get a stack of scripts, like, once a month, and most of the time, you find these placeholder girls that are there to provide a bounce for the male character. So we know he's funny because she's serious and she's mad at him. We know he's strong because she needs saving. So really, her job is to validate this personality trait of our hero or male.
I started writing In Darkness out of a frustration of the quality of roles that I was reading in scripts for women.
Not getting bored of my own story and/or character is one of the main struggles I have had with novel writing, and I have put to bed big chunks of work that just didn't sustain my interest.
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