A Quote by Prunella Scales
It doesn't matter what people think about you, so long as they get the play through your performance. Only a few not very good actors go in for self-advertisement.
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One of the things on a very practical level as an actor or actress is that when you do a play, you do the entire story every time you do it. You have eight shows a week. You have a rehearsal process of four to five to six weeks. And then once you're in performance, everybody else goes away and you're there with your fellow actors and the audience and the material and your life becomes about that. And you go through the story from the beginning to the end every time you do it and depending on how long you do it, that's where the craft comes in.
I think that at the time, when I was first pregnant, it was hard to make the transition from being totally self-involved to not being able to think about myself at all. At the end of the day, I think that's the best thing that someone can go through. I think it makes you a better person. It doesn't mean that people who don't go through that aren't good people. For me, it was a good thing.
If you grow up poor you're always going to worry about money, no matter how successful or lucky you become. I'm not moaning about what actors get paid - I'm very, very lucky - but the difference between what leading actors get paid and supporting actors get is a lot.
Tell a man that he is putting on a stage performance in order to get what he wants, and he will irritably reject your observation. Why? Because most people go through life as cunning actors with a permanent horror of getting found out.
As a woman in sport media, you have to be smart. You use what you can to your advantage and make sure you know what you're talking about or you're A) not going to last very long or B) never going to get a good job. I think we've come a long way and probably still have a ways to go, but... I just don't take any of this super seriously. I'm not curing cancer and I'm not a doctor. It's just television. I don't know why some people get so worked up about it.
Well I think if you really go out with someone for quite a long time you do get to know each other very, very well, you go through the good times, you go through the bad times. You know both personally, but also within a relationship as well.
You are still young, so you think only of your own self. You do not notice the tribulations that occur all around you, to other people. Do not protest; it is true. I am not condemning you. I was as selfish as you, when I was your age. It is the custom of the young to be selfish... But someday you will understand that nobody passes through this world without suffering-no matter what you think of them and their supposed good fortune.
What I learned about acting, from my experiences directing, is why so many producers and directors don't like actors. You go through all of this work securing a location, figuring out how to get electricity there, how to get trucks parked where they need to be, and where catering is going to come from. And if the actors don't come up with some magic, it actually didn't matter. That creates a lot of animosity towards the actors.
I've always thought that when anyone receives an award for acting they should always thank their fellow actors, because the only way you're going to deliver your best performance is when you have other good actors on the set supporting you and being very present for you even when the camera is not on them.
There are very few new things in this world, very few. That's why people that are young, if they're smart, try to profit from the experience of an older guy so they won't have to go through all the pain and suffering. But a certain amount of pain and suffer is good, because it makes a person think they've learned.
I think the actors in 'Greystoke' were amazing. They had a really good performance coach called Peter Elliott who's, of his time, one of the greatest simian performance coaches for actors.
I have a great editor and I enjoy, in a masochistic way, being ruthless about my own performance. How do I know, but I think I'm quite good at saying, "That's no good. That's no good. That's it. That's it. That's good." And I'm with the editor who goes, "No, I think you're wrong. That's not your best." There's an initial point in the editing, if you're directing yourself, especially in my case, where you go, "Ouch, ouch, ouch, I can't watch this." And then, there's a point where you become hard-nosed and just take your neurosis away and go, "What's working? That's okay. That's okay. We can lose that, and lose that." You get objective about it.
There is no holy life. There is no war between good and evil. There is no sin and no redemption. None of these things matter to the real you. But they all matter hugely to the false you, the one who believes in the separate self. You have tried to take your separate self, with all its loneliness and anxiety and pride, to the door of enlightenment. But it will never go through, because it is a ghost.
People like to think that actors are terribly worried about ghosts of other actors in the parts they play. But you just have to get on with it.
There are some actors who can only play themselves, but good actors must really be separated from the people they play.
I'm definitely not a guy that comes in the dressing room saying, "Hey, everybody, what a wonderful life." I'm usually brooding about something I think is wrong. I care so much about getting the music right, and if I think someone's slacking I get very upset about that. I just can't go on stage and say, "Another day, another dollar," which I've heard a few people say: I can't go along with that at all. It's got to be as good as you can do - to my own detriment.
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