A Quote by Maxine Peake

My kind of work is very intense. The trouble with me is that I completely fling myself into it. I get giddy. I get terrible crushes on jobs. — © Maxine Peake
My kind of work is very intense. The trouble with me is that I completely fling myself into it. I get giddy. I get terrible crushes on jobs.
Let me make this clear: my impairment is such that without a wheelchair, I can't do very much for myself. I can't get out of bed. I can't get myself to the toilet. I certainly can't get myself to work.
I started off doing live TV, so I kind of learnt that if I get myself into trouble, I get myself out of it.
It's more this instinct to get in trouble, and then get myself out of trouble. That's what painting is for me.
The older I get, the more of a recluse I turn into. I love the social aspect of my work. It’s like a commune and gets very intense and very sociable. Then when I am not working, I shut myself away, so I can see myself living up a mountain.
The older I get, the more of a recluse I turn into. I love the social aspect of my work. It's like a commune and gets very intense and very sociable. Then when I am not working, I shut myself away, so I can see myself living up a mountain.
'iCarly' was one of my first major jobs, actually. I went into that audition and completely failed at it. I completely bombed... I forgot my lines. When I forget my lines, I kind of get angry. They had me do it again; I remembered them, and I booked it.
In film school, you get skills, but then you get lackey jobs, working on projects that you probably don't care about. And there's something in me where I just couldn't bring myself to edit some misogynistic rom-com or movies that I would have hated to be a part of. So I knew I just wouldn't get any work because of that.
As of myself, I work with Heineken, who is a huge sponsor that enables us to get inside a kind of market that would be very hard to get into without its help.
Music has its own emotional embodiment. It carries an emotion with it. When you associate a lyric with the music, it's much easier; but when you're standing there completely dry in front of the camera with no musical background, just a fine-tuned, get-this-emotional-story across, it's a very, very intense kind of focus.
It's very hard to write about that which is always beautiful and pleasant and good. You don't get anywhere with it. There's no friction in it. There's no trouble. You have to have trouble. Somebody's got to get in trouble, or no one wants to read it.
I get angry about stuff, I get very emotionally intense about stuff and that's how I get it out - with books, with the band, on my own onstage, but it's always kind of a wail.
I did loads of auditions and I didn't get called back. I still get giddy at all the people I get to work with, and I'm still enjoying the work and enjoying life too much that I don't feel like I've done that much.
The old saying of work hard, play hard really works for me. For me it's all about focus. To get the Fire Starter Sessions digital book out it was about three months of intense focus. I let my friends know that I probably wouldn't be hanging out of returning their phone calls. It wasn't about doing the dishes, I ordered a lot of pizza, and I just completely put myself in the creative bubble.
I just know that there are plenty of people who are in terrible trouble and can't get out. And so I'm impatient with those who think that it's easy for people to get out of trouble.
I'm terrible at speaking extemporaneously about my work - I get completely tongue-tied and consumed with fear.
I get easily distracted and become a bit of a giddy giggler. I'm not good at taking myself seriously, and laughing at myself helps ease the pressure.
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