A Quote by Richard C. Armitage

The interesting roles have only come since I got into my 30s. But I didn't know that was going to happen. — © Richard C. Armitage
The interesting roles have only come since I got into my 30s. But I didn't know that was going to happen.
I know a dramatic role is going to happen, but you just got to be patient, you know? It's going to happen when it's supposed to happen. I'm not rushing it. I'm not trying to make it happen tomorrow.
I've always admired Cate Blanchett and the roles she chooses. I think she's got an incredible discipline in a way, with choosing roles that are going to help her grow and bring something interesting to the world.
We're in crisis mode as black actresses. It's not only in the sheer number of roles that are offered and that are out there, but the quality of the roles. The quality - and therein lies the problem. We're in deprivation mode because me, Alfre and Phylicia, we're in the same category. Whereas if you take a Caucasian actress, you have the one who are the teens, in their 20s, 30s, 40s, 50s - they're all different. There are roles for each of them. But you only have two or three categories for black actresses.
For a long time, way back in the ’30s and ’40s, there were fabulous female roles. Bette Davis and all those people had incredible, great roles. After World War II, something happened where it was not only "get out of the factories," but "get out of the movies." That's when women's roles started to really [change].
You've only got your 20s and 30s to secure a job; you'd better be established by your 30s.
If I look at the people that I look up to, a lot of them don't come to the forefront until their early to mid-30s. I think the most exciting roles are definitely yet to come.
What I would love for my 30s is to just not have expectations. I don't want to assume anything about my 30s based on my 20s other than just keeping the lessons I've learned, but in terms of what I think should happen with those lessons, I don't know.
You've got to put interesting people around you; you've got to work with people who are gonna inspire you to take the songs you've written into a completely different direction, because there's nothing more boring than going to the studio and predictably knowing what is going to happen.
If you write interesting roles, you get interesting people to play them. If you write roles that are full of nuance and contradiction and have interesting dialog, actors are drawn to that.
By my mid-30s, I just thought, 'This is not going to happen. I am never going to become an astronaut in the U.K.'
My hope is that I'm going to continue to make more and more challenging work that's going to come out more and more interesting. I don't know if that will always continue to happen, but every one of my films has definitely been a progression as far as complexity of narrative, character, and plot.
I had been playing really interesting roles before I got great roles. Little ones - 'The Crying Game' I loved working on, and then 'Bird,' 'Ghost Dog,' so many films.
I put a lot of faith in dreams. I know that big movie roles and opportunities are going to happen.
I think a leader has many roles to play. So, you know, one role is that of incubating talent; the other is that of being a strategist. It's a very interesting job I've got.
I think that with 'The Vampire Diaries,' you never know what's going to happen, and I don't think the characters necessarily know, either. So you can only weigh so much, and then it might just come down to 'kill or be killed.'
I don't outline or plan ahead when I write a novel. The more I know about what's going to happen, the less interesting it is to me; and if it's less interesting for me, it will be that way for the reader.
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