A Quote by Rowan Atkinson
The first couple of weeks of filming were quite tricky for me to find my feet with the character [Maigret], which wasn't helped by the story that we were telling.
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All I could think of was we were about to start filming for the last final weeks of the TV show and here I am in the hospital, so I missed the final weeks, and a couple days later, sore stomach and all I got on the horse we started filming.
[Maigret Sets a Trap] was always going to be the first film, and it seemed to be quite a nice story. But of course it meant that here I was playing this new character for the first time, in a place where he had been a relative failure, as all these people had been murdered and the pressure was on. Rather than starting optimistically with his pipe in front of the fireplace, he was in quite a difficult place.
Certainly in the second film [Maigret's Dead Man], which is quite a more unpleasant and darker story, it's quite different in tone and feel.
I began filming 'God Loves Uganda' by first meeting some of the Ugandan and American missionaries who have helped create Uganda's evangelical movement. They were often large-hearted. They were passionate and committed.
Character, character, character. First, second and third ... we were pretty rusty initially. When you have a break for a few weeks you get a bit of rust.
Sometimes, when I talk to someone who has just been diagnosed with cancer or some other illness, I'll remind them: "If you were honest with yourself, you were depressed before this happened. And if this were over you would be happy for a couple of weeks, a couple of months, and then something else would come along."
The first time I remember women reacting to me was when we were filming Hud in Texas. Women were literally trying to climb through the transoms at the motel where I stayed. At first, it's flattering to the ego. At first. Then you realize that they're mixing me up with the roles I play - characters created by writers who have nothing to do with who I am.
There was a strange atmosphere on the set because we were filming in this large house, which was used for troubled children. You'd go in and find walls had been burnt down. The building was charged with this history and it stayed with us throughout the filming.
There were times I wouldn't leave my room for weeks and sometimes missed school because I hated how people would look at me. But my older sister helped me find the positive: She used to show me pictures of Alek Wek to say, 'See! You can be a model if you want!'
After modernism, things changed. Indeed, modernism sometimes seems to me like an equivalent of the Fall. Remember, the first thing Adam and Eve did when they ate the fruit was to discover that they had no clothes on. They were embarrassed. Embarrassment was the first consequence of the Fall. And embarrassment was the first literary consequence of this modernist discovery of the surface. "Am I telling a story? Oh my God, this is terrible. I must stop telling a story and focus on the minute gradations of consciousness as they filter through somebody's.
My character Milly in 'The Boy Who Could Fly' was a very strong part. There were dramatic moments, and there were humorous moments, too. The whole story with Eric Underwood's character was just wonderful, and the messages behind the script were very important to me.
People need to understand that what happens in people's homes and behind closed doors, unless you were there, you really shouldn't make any analogy or any assumption, which writers do quite a bit. It's not something I ever for one second thought about. This is not my life story, and I've never told my life story, and I have no interest in telling my life story.
This is sort of inflection-free acting [playing Maigret], and I really wasn't sure if I could do it - you make your mind up on whether I've succeeded or not. But yes, I found it difficult when we were shooting; it was a couple of weeks before I settled into not worrying - to finding a way of delivering those lines - so my worries of many months before I think had been justified. I found it a difficult way of being.
The first couple of pictures I wrote and directed were dreadful, because I was dealing in worlds that were not familiar to me, and writing about fantasy. They were just not anything I was really connected to.
I remember when first, Stripes, and then Animal House came out - which I was really proud of, even though it was kind of loose and quite raucous - there were imitative movies that were not quite as good.
The 'Jamestown' set was so convincing. It had been raining for a few days before we started filming, and when we turned up, we were knee-high in mud. There were pigs and goats everywhere, too, which meant the whole place smelled pretty ripe. It definitely helped us enter the 'Jamestown' world immediately.
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