A Quote by Rowan Atkinson

I would return to the Blackadder character if the opportunity came up. I have no qualms about that at all. — © Rowan Atkinson
I would return to the Blackadder character if the opportunity came up. I have no qualms about that at all.
When I came up with the character of Wicket for 'Return Of The Jedi', which was my first film, I was a kid of 11 years old, and I basically was playing a very young Ewok.
I have no qualms about doing a character who may be below the lead in the pecking order, whether it's a hero or a villain or a comedian.
Inspector Rebus is a great character, so when the opportunity came up to revive the role for 'BBC Children in Need,' and really have a bit of fun with it, I was happy to take part.
Eventually we got to a point where 'Riverdale' came along, and it was a character that was originally written white, and I saw this as an opportunity to take a classic American character and make them Asian.
I have no qualms being a character actor.
A lot of it came from seeing how kids responded to the character. They would dress up and some would reenact the sketch in its entirety and it got us thinking about those Halloween specials we'd see on TV as a kid, and we just thought 'David Pumpkins' would work perfect for sort of a throwback nostalgic Halloween special.
I would go into a place that was quiet and isolated and think about how my character would feel in the situation, considering who he was and what he had been through. I would think about that even up to 30 minutes. And when I felt the character was in my body and I had left, I could walk onto set or into rehearsal.
None of the actor methods ever discussed what it would be like to play a character on film for over a decade, and what it must be like to return to a character and imagine the time off-screen, which is interesting. There's something as an actor that I enjoy about evolving characters.
Growing up, I watched shows such as 'Blackadder' and 'Monty Python' with my parents.
When I came to Swansea, no one said to me: 'Whatever happens you're going to be No. 1.' But I felt I would at least have the chance to start or be given an opportunity and then it would be up to me to take it.
When I was younger, I would mess about and have a laugh with everyone. I was doing Atonement when I was about 12, and as we went to do this very serious scene, the director Joe [Wright] came up to me ... I'd been giggling right up to the beginning of the take. And he came up to me and said, "Okay, you need to be serious now." I completely idolized him.
Olympus has been a much welcomed return to my Shakespearean roots. King Aegeus demanded a much greater range and depth that I've yet had the opportunity to tap on camera. Lab Rats was a wonderful opportunity for me to just go be a goofy buffoon, which I love. It was exhilarating to listen to all the funny lines the writers would come up with on the spot and then get to play them immediately.
Then he exploded. "No!" he said. That familiar injunction. I'd heard it so many times. "No. I cannot take this steel. It would not be correct." He opened his knife drawer. "It goes here," he said, "until you return."(That's how you leave: by never saying good-bye.)And I learned that: to return. I came back the following year and the year after that. I hope to return every year (after all, I may never have the chance to learn so much), until I have no one to return to. (301)
Well, everybody knew their character. I was the only one who didn't have a partner. I basically showed up when people got in trouble. Where I came from, I don't know. Nobody knows. But I would show up to help.
I am comfortable doing glamorous roles and have no qualms going nude if the character demands it.
When the opportunity to choreograph came up, it was nothing more in my head but an opportunity. Then it suddenly became a career very quickly.
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