A Quote by Ray Fearon

I normally go through every single line as part of my warm-up before a show. When I'm working on a film or TV programme, there often isn't a rehearsal, so I tend to learn my lines much later. They are often shorter, too, so they're essentially just there.
When you rehearse a Broadway show, you get two months of rehearsal, while in TV, it's a much shorter process.
I often play women who are not essentially good or likable, and I often go through a stage where I hate them. Then I end up loving and defending them.
What I like about music is the songs you can remember the lines of in a single second. The Beatles, The Rolling Stones... You can remember every line to their songs. But today, how often do you remember any of the lines to songs? I mean, I know that one of the Lily Allen's last albums is called It's Not Me, It's You. But I don't know how the songs go.
The truth is, working on single camera, show or film, you have no life. You work 60-80 hours a week. You're up before your kid gets up, and you're home when they go to sleep.
The script is a starting point, not a fixed highway. I must look through the camera to see if what I've written on the page is right or not. In the script, you describe imagined scenes, but it's all suspended in mid-air. Often, an actor viewed against a wall or a landscape, or seen through a window, is much more eloquent than the lines you've given him. So then you take out the lines. This happens often to me and I end up saying what I want with a movement or a gesture.
I can't move my body slowly. I can't move the line slowly. So I end up with way too much, often opaque to me later.
In books, you can just wallow in dialogue, and you can just wallow in written words. In screenplays, every line has to serve the purpose of the line that's implied before it and the line that's implied after it. Maybe five lines have to do the work of fifty lines.
We drink too much, smoke too much, spend too recklessly, laugh too little, drive too fast, get too angry, stay up too late, get up too tired, read too little, watch tv too much. We have multiplied our possessions but reduced our values. We talk too much, love too seldom, and hate too often. We've learned how to make a living but not a life. We've added years to life, not life to years.
Of course there are regrets. I shall regret always that I found my own authentic voice in politics. I was too conservative, too conventional. Too safe, too often. Too defensive. Too reactive. Later, too often on the back foot.
Stalin was experimenting with telepathy in the 1930's. Winston Churchill had a paranormal office, trying to get people to travel out of their bodies and see behind enemy lines in the Second World War. And the Pentagon... The X-Files is based on a real department in the Pentagon, that's still there now. Pretty much every government, probably as far back in time as we can go, has one. And the police will quite often - and when I say often, I mean often - they will go to mediums if all else fails in the enquiry.
I have the embarrassing thing where often if you're watching a film, you kind of go through the emotions and the thought stages that your character went through, but you sort of do it with Tourette's. So I end up often crying when I'm crying, and looking angry when I'm looking angry, so it's pretty ugly.
Normally, I think the people you would use on your first film, it would be a real struggle to bring them with you onto your television show. I just brought every single person with and expanded my little indie film world.
Televisison is like a factory line. You need discipline and focus. You have to hit your mark and know your lines. It's not that I don't know my lines when I do a film, but the pace of discovery is always a little bit more relaxed and nurturing and almost babying, in a way. Television toughens you up, and I like that, but I don't want it to toughen me up too much.
The quotes are often poignant or funny (one man before the firing squad requests a bulletproof vest) and often don't register as much more than interesting historical documents from centuries past. But read in aggregate, all that pain piles up. Essentially, Elder has amassed a collection of what people say when they know they are going to die, the final product of what could be seen as psychological torture.
Every field piece I did on 'The Daily Show' was a story that lasted five to six minutes. We had a protagonist, we had an antagonist and often put them at odds. We knew the story we wanted to tell before we went in, and often it was about plugging whatever character you have - in this case, a real person - into said part.
Good God! how often are we to die before we go quite off this stage? In every friend we lose a part of ourselves, and the best part.
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