A Quote by Tim Roth

There just seems to be more acceptance now of... other kinds of British films, than the picture-postcard ones. — © Tim Roth
There just seems to be more acceptance now of... other kinds of British films, than the picture-postcard ones.
There just seems to be more acceptance now of other kinds of British films, than the picture-postcard ones.
Why do you have to be out of town to write a postcard? I want a to write a postcard to my neighbor: "I still live near you!" The guy sees me go into my apartment, flips the card over, it's just a picture of me holding a rifle.
Who you really are, your True Nature, is no more tied to the kind of person you've been than the wind is tied to the skies through which it moves. Your past is just that, the past, a place within your psyche with no more reality to it than a picture of a castle on a postcard is made from stone. You have a destination far beyond where you find yourself standing today.
I think now you see a lot more British films from the perspective of, I guess what would be considered "new" British people - people of color, Asian people. I think that's what's happening now, whereas 20 years ago it couldn't happen because it was still predominantly, "British film is about middle-class white families and what they do."
In war films, even more than in other kinds of documentary, we've come to think that shaky, poor-quality footage is somehow more authentic than something classically 'well shot.'
It is impossible to repristinate a past world picture by sheer resolve, especially a mythical world picture, now that all of our thinking is irrevocably formed by science. A blind acceptance of New Testament mythology would be simply arbitrariness; to make such acceptance a demand of faith would be to reduce faith to a work.
It wasn't just British gangster films that really did for me as a kid, personally, it was British films in general.
I'd love to make films in England, and I tried to. I think there's a wealth of amazing talent and astonishing writing over here; there just seems to be more of a culture of developing films than actually making them.
Your past is just that, the past, a place within your psyche with no more reality to it then the picture of a castle on a postcard is made from stone.
I've never done a movie that's shot more than 40 days because I just don't do those kinds of films.
I'm British; I live here, and I've always made my films here. And we're on a journey in British filmmaking right now. We're attracting big films again. 'Star Wars' filming here will employ thousands of people. We're world-class in so many of the craft elements, and the vibrancy of our filmmaking is strong.
The bottom line is more tax money is going to be needed. Just how much will be the primary issue on the agenda when Congressional leaders meet with the President later today, Wednesday, May the 9th, 1990. And good morning, welcome to Today. It’s a Wednesday morning, a day when the budget picture, frankly, seems gloomier than ever. It now seems the time has come to pay the fiddler for our costly dance of the Reagan years.
I think the main big thing for me has been the acceptance from the U.S. That's still crazy to me. To come over to the U.S. and be a British girl and have all these people know who I am. It's unbelievable and it just seems to be getting better and better.
Because of the long, long history of British shipping, immigration, trade, empire, missionaries, you can have a better shot at telling a worldwide story in the British Museum's collection than any other. Britain has been more connected with the rest of the world than any other country, for longer.
I used to have more meltdowns backstage than I do [now].... It's not that it was ever cool, but right now, it just seems very uncool to have a meltdown. I'm not saying I'll never have one! But I've learnt to stop it just before it happens.
After 'The Gamekeeper' I made one other film called 'Looks and Smiles,' but making British films was very difficult. There wasn't a tradition of British cinema.
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