A Quote by Rufus Sewell

The reason I am unemployed for six months out of every year is because I have to turn down most of the films I'm offered. If I didn't, I'd only ever play a dark, satanic count on a horse.
I usually think about a play anywhere from six months to a year and a half before I sit down to write it out.
I am just a journeyman actor. Most often I take what's offered me, and I've been able to work year after year. I was in 'Scarface.' Some people think this must have done me a world of good. Truth to tell, six months after 'Scarface' I had to take a job with a real estate development friend for a few months just to get by.
I think most women these days can understand me juggling a career with being a mom because most of us do. I think I'm luckier than most because most women work nine to five and don't see their kids. I work six months a year or eight months a year.
You live these three months in this reality, in this dark reality, you don't want to do those films every year because they're taxing. I started smoking a lot of cigarettes.
You live these three months in this reality, in this dark reality. You don't want to do those films every year because they're taxing. I started smoking a lot of cigarettes.
I get butterflies before going out to ride every day, but they disappear as soon as I am on a horse, and I think that is the same for most jockeys. Then it is just down to you and the horse, and there is a certain freedom in that.
I met Ashley two weeks before I married him. It was a joke-the most ridiculous thing I've ever done. Once I was married, I didn't want to be a failure, so I stuck it out for six months, which was about six months too long.
I always wanted to play Marius in 'Les Miserables,' I actually got offered the role but I had to commit to do it for six months, and as that meant I wouldn't have been able to tour with McFly I turned it down.
When you're unemployed for six months or a year, it is hard to qualify for a lease, so even the option of relocating to find a job is often off the table.
It is now the fall of my second year in Paris. I was sent here for a reason I have not yet been able to fathom. I have no money, no resources, no hopes. I am the happiest man alive. A year ago, six months ago, i thought I was an artist. I no longer think about it. I am. There are no more books to be written, thank God.
When I look back at 2003, it was the best year I've ever had creatively: having 'Transatlanctism' and 'Give Up come' out in the course of six months. I'll never have another year like that.
I always say that I'm a filmmaker, not a factory. I don't have to churn out films every six months.
The average movie-goer in this country sees six films in a year. That's one every two months. What the studios are trying to do is make sure it's their movie.
Perhaps women are lied to more often because managers think they're not going to push back. If you're told, "We don't have the budget right now" and have no access to the budget to prove otherwise, there's not much you can do, but there's no reason why you can't ask if you can reassess in six months. Then, spend those six months chronicling every good thing you do so you return with a stack of data that proves you need that raise.
Generally, my notes and outlines comprise more words than my novels. I suppose that's one reason I'm a comparatively slow writer, something that has always bothered me given the fact that other authors can turn out a book every six months while I usually take about two years.
I'm not going to entertain something that took place not three months, not six months, not a year but two years ago. I'm not going to sit up here and say anything about it, whether I did or did not do it, because I don't want to beat a dead horse talking about it. It's not going to affect me any way, shape or fashion.
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