A Quote by Nigel Hawthorne
I was quite a plain boy. I stayed in work and eeked out a living, bit parts on TV, walk-ons in films, repertory companies.
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I do not make films which are prescriptive, and I do not make films that are conclusive. You do not walk out of my films with a clear feeling about what is right and wrong. They're ambivalent. You walk away with work to do. My films are a sort of investigation. They ask questions . . .. Sometimes I hear that some [Hollywood] studio is interested in me. Then they discover that this is the guy who works with no script, that there is no casting discussion, no interference, that I have the final cut, and that does it.
Good female parts are hard to come by, so I go all over the place to find them: cable TV, network movies of the week, foreign films, independent American films, studio films, the stage.
My manner of living is plain and I do not mean to be put out of it. A glass of wine and a bit of mutton are always ready.
We moved there a year ago, just as a weekend place. Then we decided to move out of London completely. We will eventually have to work it out a bit more, because you can't have a little boy living with his sisters like that, can you? But we like the idea of closeness.
What bothered me was playing one-dimensional parts in films which were really about, 'Boy Meets Girl,' 'Will Boy Get Girl?'
I'd always loved the theater, and I began by writing plays. I work in the theater a lot in the UK, and I've worked in the theater out here quite a bit. Everything else - the films - followed as a consequence of that.
There are several hundred people who stayed in the Ebola-affected countries and continued to do the work, put themselves at great risk because medical workers are the most likely to be infected because they're helping out when the person's health is deteriorating, including quite a bit of bleeding as they're getting very, very sick.
I was an altar boy and heard the Bible being read out repeatedly. The stories have stayed with me, although they're completely remixed in my head. And often, when I do further reading, I'm quite surprised by the difference between the real story and my memory of the story.
Move to Italy. I mean it: they know about living in debt; they don't care. I stayed out there for five months while I was making a film called 'Order Of Death,' and they've really got it sussed. Nice cars. Sharp suits. Great food. Stroll into work at 10. Lunch from 12 till three. Leave work at five. That's living!
I was in a band with a boy who was quite androgynous and a bit bisexual, and we used to play up to that a little bit to be provocative in a theatrical way, but I guess you either are or aren't.
I had a really regular progression--and this is really pleasant, I think--because I had small parts in TV movies, then bigger parts in TV movies, and then small parts in films. And I think this allows you to get...experience of the set and to get familiar with [the process]. And as I had a really slow progression, I think it really helped me to stay lucid and not get carried away.
They don't find peace. It's pure bullshit. When something unspeakable happens, or when you do something unspeakable, it changes you. It takes you apart and reassembles you. You are a Frankenstein of circumstance, and the parts never fit back quite right and the life you live is a stolen one. You don't deserve to walk among the living, and you know it.
I used to work in TV and quit the job because I couldn't do it any more. I quite like taking my time over a film, five years is how long it takes me to work something out. And when you just do quick turnover, turnaround, I'm literally this is driving me mad, I want to find another living. I'll just have to find a creative way to tell the story.
Every four or five films we've made a film that has gone on TV first. It's quite nice to tap into the TV audience, but it is nice to see it on the big screen too.
I love doing interviews that are about work that I do, films that I make. I am not very interested in the rest. I think I have always been quite reserved and a bit frightened of that whole thing.
My drum parts are a song within the song; that's the way I look at writing my drum parts. They follow patterns, and they're written to interact with the rest of the band. There's quite a bit of thought that goes into it.
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