A Quote by Rita Tushingham
Woodfall wasn't deliberately telling working-class stories, but John Osborne and other writers who were involved with them were writing those stories, which had never really been written before. The working-class person always had to have an accent before, was often a joker, and peripheral. At Woodfall, they were driving the film.
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The really successful work in England tends to be working-class writers telling working-class stories. The film industry has been slow to wake up to that, for a variety of reasons. It still shocks me how few films are written or made in England about working-class life, given that those are the people who go to movies.
The American cinema in general always made stories about working-class people; the British rarely did. Any person with my working-class background would be a villain or a comic cipher, usually badly played, and with a rotten accent. There weren't a lot of guys in England for me to look up to.
My upbringing was middle-class but my parents' families were both working-class so I had this odd combination of working-class background but in a privileged position.
It used to be that the working class, broadly speaking - Americans who worked with their hands, who worked in factories, who were not in management - were an interest group, a political interest group. And their main spokespersons were the Democrats. Their platform was the Democratic Party. And that began to change after the 1960s. Not for black or other working class Americans, but for white working class.
Stories were primarily verbal to begin with. Before there were cave paintings, stories were told over generations. We tell each other thousands of stories in the course of everyday life.
Long before I became a feminist in any explicit way, I had turned from writing love stories about women in which women were losers, and adventure stories about men in which the men were winners, to writing adventure stories about a woman in which the woman won. It was one of the hardest things I ever did in my life.
I started a writing class, not in service of writing a script or writing anything specific. I've just really been enjoying that, and oddly the group, not by design, but it just happened to be all women, and there were three women who gave birth this fall while we were all in class, and there's just something really great about getting to know these women through their stories and what they're writing about.
I had never been a comic book person before, really, because I had no access to them. Once I had access, I thought that these are just another avenue for telling stories and delving into the imagination.
Writing my own stories had always been one of my dreams, but I didn't start until I was 29. I was working in a book warehouse and was assigned to the third floor where all the children's books were. For four and a half years, I spent all day, every day around children's books, and it wasn't long before I fell in love with them.
I grew up around writers, and there was always a romance to them. They were charming. They would tell their stories of what they were working on, over the table.
The films that I've done before were original stories most of the time, I did two adaptations before this, but they were mostly original stories where I had complete freedom to evolve in the direction I wanted.
As an artist, I am interested in telling stories that haven't been told before, stories that are going to affect people, and also stories that shine light on areas of history that haven't had light shined on them before.
When I was about twenty-one, I published a few poems. Maybe I wrote a couple of stories before, but I really began to write stories in my mid-thirties. My kids were still little, and they were in school and day care, and I had begun to think a lot about wanting to tell some stories and not being able to do it in poetry.
History class was a forty-minute squirm from which I would emerge unscathed by insight. Down the hall in English Lit, though, there were stories to be had, and it was stories I craved.
My stories were translated and had many reviews before I had an interview with any international or Arab newspaper. If the stories hadn't succeeded, you wouldn't have asked me my position on Arab festivals and I wouldn't have been interested in the festivals anyway, because I would be in seclusion, writing.
You come out of a working-class environment, you know, working-class kids always put them themselves together because it's one of the only things they had. You had control of your image.
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