A Quote by Ruth Jones
Fleabag' is genius: there's something so brave about a character voicing what we're all thinking but are too embarrassed to say.
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I mean, when you think about it, it's 'bombs bursting in air,' 'rocket's red glare,' it's all kinds of - you know a lot of national anthems are that way, too - all kinds of military jargon, and the land - there's only one phrase 'the land of the free,' which is kind of nice, and 'the home of the brave?' I don't know....Are we the only ones who are brave on the planet? I mean, all the brave people live here I mean, it's just stupid, I think. I'm embarrassed, I'm embarrassed every time I hear it.
You remember that I told you it was safer not to know. But,' he went on, as his hands moved wuth their sure and practiced motion, 'I will tell you just a little, because you were so very brave.' Brave?' Annemarie asked, surprised. 'No, I wasn't. I was very frightened.' You risked your life.' But I didn't even think about that! I was only thinking of-' He interrupted her,smiling. 'That's all that brave means-not thinking about the dangers. Just thinking about what you must do. Of course you were frightened. I was too, today. But you kept your mind on what you had to do. So did I.
Where does a character come from? Because a character, at the end of the day, a character will be the combination of the writing of the character, the voicing of the character, the personality of the character, and what the character looks like.
When I'm singing a song, I'm in that song, and I'm thinking about what emotions I should bring to the song. Voicing a character was very similar. It was high energy, and I had to really think about the emotion of what was going on in the scene.
It's not always enough to be brave, I realized years later. You have to be brave and contribute something positive, too. Brave on its own is just a party trick.
The only reason you would hate to be compared to 'Fleabag' is if you were said to be 'not as good as Fleabag'.
I've done some things I'm embarrassed about, and I like to tell people about them so that maybe they feel less embarrassed or alone when they do something they're unsure about.
I tend to learn things physically - I guess it's my dance training. I never want to make too many choices too soon - so, while I am thinking about the character and thinking about her history, which is very vague in terms of what is given in the text, I am starting to have ideas about what her home is.
A writer arrived at the monastery to write a book about the Master. "People say you are a genius . Are you?" he asked. "You might say so." said the Master, none too modestly. "And what makes one a genius?" "The ability to recognize." "Recognize what?" "The butterfly in a caterpillar: the eagle in an egg; the saint in a selfish human being.
Talent warms-up the given (as they say in cookery) and makes it apparent; genius brings something new. But our time lets talent pass for genius. They want to abolish the genius, deify the genius, and let talent forge ahead.
Something I always tell students is, when you're writing something, you want to write the first draft and you want it to come out easily in the beginning. If you're afraid to say what you really have to say, you stammer. [...] You're judging yourself, you know, thinking about your listener. You're not thinking about what you're saying. And that same thing happens when you write.
What is the character trying to say? Why? Be as specific as you can, using sense images that evoke something about the character. Try using the character's senses, even if the character is you.
I used to be insecure and cover my mouth because I felt like my teeth were too big or I was embarrassed that I might say something stupid.
I just like voicing films in general. I do a lot of documentary work and it's a short hop really to narrating a character, especially if you're on film and you're there in a visual way. It sounds obvious, but voicing an animation really focuses you on the way that you're communicating through your voice. It's a very specific ability that you need to be able to have in order to pitch it just right.
There's something exceptional about watching a video and simultaneously thinking 'That was genius!' and 'I could have done that!'
After the play of 'Fleabag,' we had conversations with different channels and with film companies about whether 'Fleabag' should be a half-hour sitcom, an hourlong, serialized drama, or a film. And I knew that it couldn't be a drama because I wanted to hide the drama - that had to be the surprise. I knew it had to be comedy.
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