Actors From England

"To me history as taught at school was like all those memories of galleries, castles and historic monuments that I didn't have. There was the same sense that if there was only some matrix, some philosophical framework to which I could attach all these facts then they would all make sense and they would all stay with me. And then halfway through Marx's Wages, Prices and Profits I suddenly thought to myself, 'Fuck me! This shit is actually true.' ... Once you understood Marx all the apparent chaos of human existence resolved itself into a coherent and comprehensive pattern. People fought not because they differed about how to wear a shirt but because they represented economic classes whose interests conflicted. The Cavaliers were landed aristocrats and their allies who wanted to hang on to a way of life being superseded by Cromwell's merchant class. Slavery was abolished not out of some idea 'niceness' in the Northern states but because the industrial factory owners of Chicago and Detroit wanted the blacks to work in their factories, to be 'wage slaves' rather than actual slaves, though often the improvement in their physical conditions was marginal. The British Empire wasn't some project designed to bring enlightenment to ignorant savages, but rather a brutal and rapacious exploitation of peoples who were often more humane than us. You can imagine, armed with this philosophy, how full of myself I now became. Even when I hadn't had the secret of human history in my grasp I had been a mouthy little bastard in class. Now I was unstoppable."

"Israel is the Jimmy Saville of nation states."

"[On Jeremy Corbyn] I'm very excited by Jeremy's rise [...] Although you can see all the forces of evil and their lies being deployed against him. People say he's brought 1970s-style socialism back, but those left-wingers were dicks. I was never very keen on Tony Benn, a pompous, self-important man. And Derek Hatton and Eric Heffer – awful, vile people. Jeremy is nothing like them. He's ascetic and morally incorruptible. The propaganda that's thrown against him is disgraceful. Until he appeared, you had to vote for one kind of Oxbridge twat or another, people who all go to the same dinner parties, people like the Ed Ballses and George Osbornes. Jeremy has shown that, within a democratic tradition, other things are possible."

"Would you like the oldest, most historically significant athletic competition the world has ever known, attracting athletes from every known nation on the face of the planet to come here and perform at the peak of their abilities, in the very city where you live? Most British people go, "Where will we park?!""

"[on global warming] There's a group of people who, a little while ago, were saying, "It's not happening." That same group of people are now saying, "Alright, it is happening, but it's not our fault." That's a very dodgy position to be in. That's like saying, "I'm not having an affair, and, anyway, she seduced me"."

"I don't like David Blaine, he is the ultimate git wizard."

"If Pac-Man had affected us as kids, we'd all be running around in dark rooms, munching pills and listening to repetitive electronic music."

"We humans who art on Earth, humanity is special, our kingdom has come. Do what we innately know to be right, on Earth because that's all there is. Share the bread we have, try not to screw up. When others screw up, understand. We can't have everything that tempts us (Unless we work in international finance). Deliver ourselves from evil because this is it. The Earth, the power to do right, and the glory that will come if we do is ours, now and forever. Hu-man."

"[On David Cameron] When I heard this inherited multi-million ex-Etonian talking about a culture of entitlement, well, I'm sorry, but my irony meter went through the red and then exploded in a gale of bitter laughter. It actually went "HAA!" I was furious, because I've only just had a new irony meter installed after Rebekah Brooks complained about how she had been unfairly reported by the British press."

"All big cities are the same now. It used to be easier at weekends. Not anymore, you get the white stretch limos everywhere. You see them at first, you think, "Is it a celebrity or a foreign dignitary?" No, its some slags. No one's sure how many slags, cause the windows are tinted. All you can say with any real degree of accuracy is that there is an indescriminate number of slags in said vehicle. There's at least two poking out the sunroof."

"Holmes is the hardest part I have ever played - harder than Hamlet or Macbeth. Holmes has become the dark side of the moon for me. He is moody and solitary and underneath I am really sociable and gregarious. It has all got too dangerous."

"Trying to be Sherlock Holmes is like trying to catch an arrow in mid-flight."

"He had great zest for life, and a lot of style - he belonged to an age of elegance."

"He had that love of life and love of people; he gathered people around him like other people gather butterflies or postage stamps."

"Q: Who were your comedic or revue influences? IC: I adored Jack Buchanan and Fred Astaire. Cary Grant roles are ones I would love to have played but I was never given any."

"[[w:Robert Hamer|[Robert] Hamer]] was an alcoholic. And Hal Chester, the little volatile American producer of School for Scoundrels, looked after him like a child. He picked him up in the morning and took him to the studio, he looked after him at lunchtime, he took him home at night. And everything was hunky dory. He was compos mentis and played well [until] the last fortnight of shooting. It was a night shoot outside the Camelia room ... [a]nd I got down there and he was stoned out of his mind. He was absolutely rolling around, couldn't do a thing. So I'm afraid he had to be removed, and the producer directed that night. Then after that, for the last three weeks, another director came in who never got a credit, a man called Cyril Frankel, who I was in the army with, strangely. He directed the last three weeks. Of course, you've always got to remember that everything is shot out of sequence so the last three weeks doesn't necessarily mean the last fifteen minutes of the film. You can't see the join."

"[On the early end of a Broadway run] So I went over there and, I'm delighted to say, the play flopped [audience laughter]. I hated New York. I loathed it. I sent Michael [Mills] a telegram after the notice went up at the end of the first week. It said "Boeing Boeing coming off next week. Am at your full disposal." He told me later that telegram arrived on his desk at Television Centre while he was holding a conference as to who should play Bertie [Wooster] as I wasn't available."

"I do not subscribe to the theory that when a popular member of the company leaves, it is the end of the world — that things will never be the same again. Of course they won't, for each artist leaves something of himself or herself in a role."

"Yet, like so many of the D'Oyly Carte principals, he makes up in enthusiasm what he lacks in vocal prowess."

"We grabbed their hands and dragged them home. Ah, I hope they’ve forgiven me."

"Dick Van Dyke was older than me and I was playing his dad."

"Oh there just aren’t enough good words to say about Matt. He’s amazing, and he’s the most gorgeous person, and I will really treasure being on stage with him, always, because he’s so special."

"The thrill he gets from music is something he wants theatre to be able to transmit. Of his favourite band, Radiohead, he says, with typical exuberance: "That’s it. That’s what I want when I go to the theatre, when I’m in a play, is them, and that experience that I get from them. I admire the musicianship, I admire the soul that goes into it, and the execution and the work, the preparation. Everything is done right, I think, and done with good intention and soul and heart and good spirit. They are a lesson to us all.""

"I quite like the transitions of being an actor, because you get to explore these little pockets of life. So if you’re playing a builder you get to know about building, if you’re playing a scientist or a physician or something you get to know about physics. And similarly with this world I like exploring their culture, that very sort of upper middle class, addictive… that’s part of the reason I love it."

"He's this sort of harborer of good and fun and madness, and he's the cleverest man in the universe — and the silliest man in the universe."

"Smith is upbeat, open and chatty, with a goofy smile, dishevelled clothes and a tendency to fidget that makes him seem like a slightly nerdy younger brother all grown up. He has a genuine enthusiasm for everything he talks about, including the people he works with"

"I went to university on a scholarship that was funded by a church. I was on the way to becoming a Presbyterian missionary. In the end I left school. The reason was that I used to tell jokes about God and the people around me did not like the jokes. I asked them, What kind of God is this who can't cope with my lousy jokes? What kind of God feels threatened by these jokes? So I left. And the truth is that this is exactly what I have to say about the present situation. Everything has become too political and it is ludicrous. I understand why they are upset, but it has reached an absurd pass and the Muslims are only hurting themselves."

"In the end, people have to learn to live together. That is what I didn't like about America — it is so homogeneous. I like places where there are people who are different culturally, physically, in every way. And I like to see how they succeed in living together."

"I like the Coen brothers. Their films are smart and disturbing. I am very impressed by what George Clooney is doing now. He is very political. I like the fact that he did Oceans Eleven and Oceans Twelve, made all that money and then leveraged the money and his success into interesting projects. Johnny Depp has also set up a production company and is showing an interest in risky projects that will not be easy. I am sorry that it is hard for the average person, and even for an above-average person, to see a film that is not a Hollywood production. You see those films only in the festivals. There are few people there. That is worrying. People don't think. My goal in work is to make them think. The media do the opposite."

"The Brothers Grimm came along and I was so desperate for work … Actually I've got to say that I like the movie, I won't apologize for it."

"We were devastated. We spent the whole day — Amy Gilliam, Nicola Pecorini, the director of photography, and myself — lying flat on the floor. Heath Ledger's dead, and you don't quite get over that. I suppose I'm in an interesting position because while I'm cutting the film I'm basically working with him every day and he's fine; he's in good shape. Ideas are floating around. Then finally we decided, 'OK, let's get three other people to take over the part'. And we were lucky because we have a magic mirror in this movie. Not every movie has a magic mirror. So you can very genuinely say that these other actors are different aspects of the character that Heath plays. And it works. The point was, we've got to keep going. It was a bit like half being there, but apparently on autopilot I can still do a few things."

"[Steven Spielberg's films] are comforting, they always give you answers and I don't think they're very clever answers. … The success of most Hollywood films these days is down to fact that they're comforting. They tie things up in nice little bows and give you answers, even if the answers are stupid, you go home and you don't have to think about it. … The great filmmakers make you go home and think about it."

"There comes a part where the money and the creative elements all come crashing together. Everybody's under a lot of pressure, and everybody is panicking about what works and what doesn't. And the studios and the money always have one perspective and the creative people have another one, and usually what happens is a lot of compromises get made. I decided not to. I walked off and did Tideland and came back six months later."

"Well, I really want to encourage a kind of fantasy, a kind of magic. I love the term magic realism, whoever invented it — I do actually like it because it says certain things. It's about expanding how you see the world. I think we live in an age where we're just hammered, hammered to think this is what the world is. Television's saying, everything's saying "That's the world." And it's not the world. The world is a million possible things."

"We read Dover Books, because you can steal from them. The medieval imagery and iconography is so good for the imagination. Trying to describe the world, trying to describe the cosmos, trying to put it down in neat orderly fashion, unlike reality. And it always seems to stick in one's mind more than reality does."

"I’ve always liked gossip, gossip is fun, but whether you believe it or not is something else, and yet the web seems to want to believe. The web doesn’t distinguish between what’s playful and serious. And the speed! What is happening in the web, and all the tweeters tweeting, they become neurons. They are the neurons of the global village. Village is the right word because the village is where the gossip is taking place, it doesn’t take place in the cities. A piece of information comes into that little neuron – whoop – and they’ve immediately got to pass it across the synaptic gap…"

"It's an abominable place. If there was an Old Testamental God, he would do his job and wipe the place out. The only bad thing is that some really good restaurants would go up as well."

"People in Hollywood are not showmen, they're maintenance men, pandering to what they think their audiences want."

"The underground press was convinced that I was a junkie, an acid head. … But I don't do drugs. I don't like being fucked up. I've got enough bizarre chemicals floating around in my head. I'm just naturally like this."

"Nooo! Leave that to George Lucas, he' s really mastered the CGI acting. That scares me! I hate it! Everybody is so pleased and excited by it. Animation is animation. Animation is great. But it's when you're now taking what should be films full of people, living thinking, breathing, flawed creatures and you're controlling every moment of that, it's just death to me. It's death to cinema, I can't watch those Star Wars films, they're dead things."

"I think there's a side of me that's trying to compete with Lucas and Spielberg — I don't usually admit this publicly — because I tend to think that they only go so far, and their view of the world is rather simplistic. What I want to do is take whatever cinema is considered normal or successful at a particular time and play around with it — to use it as a way of luring audiences in."

"Nobody went to see Tideland! I was hoping people would get angry about it but those that saw it didn't want to talk about it. This is the world we're living in, people don't want to discuss things that are actually worth discussing."

"I am quite bored nowadays. I don't know if it's age and the fact that I have seen so many things and am less surprised, or whether the problem is truly the content. But things have been repeating themselves for 30-40 years already. It seems to me that there is no desire to push the envelope or even to peek there. People are afraid. In the 1960s and 1970s we pushed the limits farther. More attention was paid to what was going on around. Television and the media are everywhere and they are taking over so powerfully. They don't shut up for a second. So you are unable to think. It is very difficult to think independently when you are surrounded by all that noise. What I most aspire to is to be alone. Not lonely, but alone. To stop all this noise. That is what I do when I go to Umbria. There is no television there, no telephone. The situation is especially serious with television. The money is dispersed among hundreds of stations so that no money is left for good things. In our time there was far greater depth. Not everything is artificial and as cheap as possible. Everyone gossips on television; it's all so trivial and it's impossible to hear anything."

"Although he never admitted himself to be an atheist as such, he was clearly and unarguably the most vividly elegant and eloquent skeptic of them all. I'm referring, of course, to the great Scottish philosopher David Hume."

"There were academics and theologians who spent hours calculating what they thought was the precise age of the Earth, on the basis of the Biblical account of it. And as early as 1650, James Ussher had come to the startlingly precise conclusion that the Earth was created in 4004 B.C. on October the 22nd—in the evening, apparently. What God had been doing that morning is still open to conjecture."

"There is one aspect of our own mentality for which it's difficult as yet to foresee what type of explanation would even be relevant. I'm referring, of course, to consciousness. The point is that although I have no reason to believe that my consciousness is implemented by anything other than my brain, I remain convinced that there's something impenetrably mysterious about the relationship between brains and thoughts. And you can understand, therefore, why it's so hard to imagine, let alone tolerate, the idea that the death of the brain necessarily leads to the end of the personal self—and this, of course, is the "trump card" with which religion has consistently played."

"Ever since the Reformation, there's a sense in which the road to atheism was paved not with science, but with religious intentions."

"With thoughtfulness—and, above all, with literacy—thoughts themselves become subjects of discussion in a way that they wouldn't have been before they were written down. It's not until they're written down that they become stable enough to bear examination in the same way that physical objects themselves can bear examination."

"While the early deists were busy reconstructing Christianity, at the same time being very careful to avoid the accusation of atheism, the world of science had been steadily progressing."

"During the time when I was doing Monitor for the BBC I found that if I wanted to show the detail of a painting it suffered pretty badly. You can get away with it provided the lighting is not too heavily contrasted and the details are not too minute. But by and large the electrical mechanics of television are still at such a primitive stage that almost any fine visual detail suffers and is rubbed away. If it weren't for the fact that it is the only medium available for transmitting things into a large number of homes simultaneously, no one would ever dream of using television as a didactic instrument for showing visual detail. It is fair to say that if you're showing diagrams on flat surfaces it is not too hard to read the detail. It is terrible, though, for showing any sort of depth—for example, if you're trying to demonstrate not an art object, but a relatively complicated thing like a skull."