Bafta Winners People

"I don't show up all the time. I only show up when I can and when I want to, but I was there at the Golden Globes and it's almost like there was an arc that started there. It doesn't end here. But I think publicly — as a commercial (because that's what we are, this is not a — this is not — this is not a novel — this is a TV show after all) — but I think that the message that we're getting to send to the public is that we're going to be one of the small industries that try to make a difference."

"I just found out about this last week. There is — has always been available to all — everybody … that does a negotiation on a film, an "inclusion rider" which means that you can ask for and/or demand at least 50 percent diversity in not only the casting, but also the crew. And so, the fact that we — that I just learned that after 35 years of being in the film business … we're not going back. So the whole idea of women "trending" — no. No "trending". African Americans "trending" — no. No "trending". It changes now, and I think the inclusion rider will have something to do with that."

"We are a bunch of hooligans and anarchists but we do clean up nice. I want to thank every single person in this building. And my sister Dorothy. I love you, Dot. And I especially want to thank my clan, Joel and Pedro "McCoen." These two stalwart individuals were well-raised by their feminist mother. They value themselves, each other and those around them. I know you are proud of me and that fills me with everlasting joy. And now I want to get some perspective. If I may be so honored to have all the female nominees in every category stand with me in this room tonight, the actors — Meryl, if you do it, everybody else will, c'mon — the filmmakers, the producers, the directors, the writers, the cinematographer, the composers, the songwriters, the designers. C'mon! Okay, look around everybody. Look around, ladies and gentlemen, because we all have stories to tell and projects we need financed. Don't talk to us about it at the parties tonight. Invite us into your office in a couple days, or you can come to ours, whatever suits you best, and we'll tell you all about them. I have two words to leave with you tonight, ladies and gentlemen: "inclusion rider.""

"I wasn't cut out for office life, I always wanted to be an actor."

"It isn’t that I object to it. I just feel it’s the wrong adjective as applied to the films I do. Because horror to me is, say, a film like The Godfather. Or anything to do with war, which is real and can happen, and unfortunately, no doubt, will happen again some time. But the films that dear Christopher Lee and I do are really fantasy. And I think fantasy is a better adjective to use. I don’t object to the term horror, it’s just the wrong adjective!"

"I treat all film roles one way: very seriously," exclaims Pleasence. "I never play anything tongue-in-cheek, though at times it might appear that way. I'm a professional actor who has no particular approach to acting. I get the part, I read the script. If I decide to do it, I learn the lines. People expecting a longwinded explanation on my approach will be disappointed. I have no theory about acting. There is no method, there is no way. I just do it."

"I wasn't strong enough to withstand such strong opinions. I keep them in a trunk and, from time to time, will read one from long ago."

"And they — what I hear, you know, talking about our president. When I hear people saying quite unthinkable things about our president, when I see our president defaced, which is defacing our country. He's the leader of our country. He's the leader of the free world. It — my heart is very heavy."

"I would love to have us all psychologically evaluated and let a court decide. If he was not a celebrity, everybody would think he was a crazy father of an actress, but he somehow has them saying, "We know this man, we've seen him in films, he can't be crazy.""

"I’m still just reveling that someone from Hollywood made a speech like that. I hope you’re going to be able to find work after this. I really enjoyed that."

"Donald Trump is the greatest president since Abraham Lincoln."

"I'm honored to be at the side of Michele Bachmann. She is a great congresswoman. She is a great human being, and she is a true American patriot."

"I'm here to validate all the millions of people who are opposed to the Obama healthcare. We're witnessing a slow and steady takeover of our true freedoms. We're becoming a socialist nation, and Obama is causing civil unrest in this country... The stimulus didn't work.... We're being told what cars we can drive, how much we can make.... Obama has made this [healthcare] a personal crusade now.... As we can see it really is about him. He is arrogant and he's adamant that he's going to get this passed.... He's trying everything, even the so-called God card. If you love God, he tells us, then it's your duty to vote this healthcare bill in.... They're taking away God's first gift to man. Our free will."

"Well what happened was I was asked to be on Seinfeld. They said: “Would you do a Seinfeld?” And I said, and I just happened to know to see a few Seinfelds and I knew these guys were really tops; they were really, really clever guys, and I liked the show. And so I said “Sure!” and I thought they would ask me to do a walk-on, the way it came: "Would you come be part of the show?" And I said “Yeah, sure I’ll do it.” You know what I mean? Then I got the script and my name was on every page because it was about my car. And I laughed; it was hysterically funny. So I was really delighted to do it. The writer came up to me and he said “Jon, would you come take a look at my car to see if you ever owned it?”, because the writer wrote it from a real experience where someone sold him the car based on the fact that it was my car. And I went down and I looked at the car and I said “No, I never had this car.” So unfortunately I had to give him the bad news. But it was a funny episode."

"A strange man. Undoubtedly a great actor. But so wracked by personal problems. My apartment in looks down on the old Fox lake, which is now paved over with condominiums. And when I look down I think of Spence. He came on to me. He came on to every girl. And when he drank, look out! He went on a bender on this one that lasted for days. His wife was distraught, so I went out on a tour of Hollywood's seedy bars and I found him. Fox dried him out, but a few years later he was dropped because his alcoholism. I was up for the co-lead in A Man's Castle [1933], but chose and she really fell for Spence. I saw right through him, which could be the reason Spence asked that I not be chosen. [...] Met him decades later and he just nodded and walked on. Was he embarrassed I might have remembered his drunken antics? Or did he just not remember?"

"It could be that today's conservative movement remains in thrall to the same narrative that has defined its attitude toward film and the arts for decades. Inspired by feelings of exclusion after Hollywood and the popular culture turned leftward in the '60s and '70s, this narrative has defined the film industry as an irredeemably liberal institution toward which conservatives can only act in opposition—never engagement. Ironically, this narrative ignores the actual history of Hollywood, in which conservatives had a strong presence from the industry's founding in the early 20th century up through the '40s, '50s and into the mid-'60s]. The conservative Hollywood community at that time included such leading directors as Howard Hawks, Frank Capra, and Cecil B. DeMille, and major stars like John Wayne, Clark Gable, and Charlton Heston. These talents often worked side by side with notable Hollywood liberals like directors Billy Wilder, William Wyler, and John Huston, and stars like Humphrey Bogart, Lauren Bacall, and Spencer Tracy. The richness of classic Hollywood cinema is widely regarded as a testament to the ability of these two communities to work together, regardless of political differences. As the younger, more left-leaning "New Hollywood" generation swept into the industry in the late '60s and '70s, this older group of Hollywood conservatives faded away, never to be replaced. Except for a brief period in the '80s when the Reagan Presidency led to a conservative reengagement with film—with popular stars like Clint Eastwood, Sylvester Stallone, and Arnold Schwarzenegger making macho, patriotic action films—conservatives appeared to abandon popular culture altogether. In the wake of this retreat, conservative failure to engage with Hollywood now appears to have been recast by today's East Coast conservative establishment into a generalized opposition toward film and popular culture itself. In the early '90s, conservative film critic Michael Medved codified this oppositional feeling toward Hollywood in his best-selling book Hollywood vs. America."

"The real movie stars were Humphrey Bogart, Lauren Bacall, Spencer Tracy, Montgomery Clift. How could I put myself in the same category as Clark Gable? Tom Cruise is a great movie star. Do I consider myself a movie star? I consider myself a guy with a good job, an interesting job."

"Know your lines and don't bump into the furniture."

"Like a heartbeat. Something inside me. Some dream. I think it's being a dreamer as a child. Dreamy kids become actors, don't they?"

"I hear that the no-smoking crowd are now operating at the National. Surely that sort of mentality doesn't belong in a theatre, it isn't a place where you impose rules on people, it's a dirty radical place where an actor can work with a fag in his hand."

"You don’t merely give over your creativity to making a film—you give over your life! In theatre, by contrast, you live these two rather strange lives simultaneously; you have no option but to confront the mould on last night’s washing-up."

"Now, I had heard that he was a little bit intense, right? But he's not, really. He's really the most intense person that has ever lived on Earth. All he is doing is sitting in a chair and I am terrified of him."

"The thing about performance, even if it’s only an illusion, is that it is a celebration of the fact that we do contain within ourselves infinite possibilities."

"Being at the centre of a film is a burden one takes on with innocence—the first time. Thereafter, you take it on with trepidation."

"Oh yeah, there was a point where they said they thought the threat had probably or had possibly been overstated, and then they started to question their sources, and blah, blah, blah. But I don't know how it was resolved, you know? But they were serious about it. And what can you say? I mean, gee, there were a lot of man-hours spent doing that gig, so the least I can say is, "Thank you very much.""

"I live a real life, man. It's complex. Some days are absolute diamonds and some days are dog shit, same as everybody else. Unfortunately, some days that are diamonds I've taken them and turned them into doing shit. But you live and you learn. I'm 42. I'll get wiser."

"I have a temper. My mum's got a temper. My brother's got a temper. You've got to have one. You know what happens if you don't have one? One day you're walking down the street and you just pop. You're lying there dead on the pavement because you've been holding and suppressing all this bullshit, you know."

"He was screaming at me at the time. He was calling me all manner of things and the all the other cast — or the three principal guys that I worked with, or that I shared a dressing with, were holding my arms. So that's all I had left to hit him with. And he fucking deserved it."

"I think my reputation is something that I'll probably try to spend the rest of my life living it down and it probably won't work."

"I'm not Machiavellian. I don't play chess with my life, you know. I respond in the moment, which is what makes me a good actor. It makes me, sometimes, a good interview subject but it also makes me a very easy target."

"That was the first conversation in my life that I’d ever heard the phrase Al Qaeda. And it was something to do with some recording picked up by a French policewoman, I think, in either Libya or Algiers. And it was a destabilization plan. I don’t think that I was the only person. But it was about—and here’s another little touch of irony— it was about taking iconographic Americans out of the picture as a sort of cultural-destabilization plan."

"None of it was my application. I didn’t pay for any of it. It was…the FBI, bless their pressed white shirts. They picked up on something they thought was really important, and they were following it through. They were fucking serious, mate. What are you supposed to do? You get this late-night call from the FBI when you arrive in Los Angeles, and they’re like absolutely full-on, "We’ve got to talk to you now, before you do anything. We have to have a discussion with you, Mr. Crowe.""

"This is not belittling it, because I do think it's a very emotionally and intellectually complicated physical performance, and it's the combination of those things that made it a little unusual, I suppose. But I definitely rate The Insider and A Beautiful Mind above that. I probably rate Romper Stomper above it. And there's a hell of a lot of nuance going on in L.A. Confidential as well."

"To be honest, when you're younger and cooler, you say those sort of things don't mean anything, but then on the day when they pat you on the back and they say, "Look, mate, we're noticing what you're doing-thanks very much;' you think of the people who spent a life in the cinema and didn't receive that kind of accolade, and it's sort of a humbling experience. And it's very nice and all that. But it doesn't change the way I do things."

"I'm not really doing the fucking Russell Crowe brand-name shit. I'm not fulfilling that stuff. So if I don't fulfill, then just write about it anyway... You know, there was an article I was reading on-set somewhere, and there were eleven things on this list that made me a motherfucker, right? The eleven points of motherfuckerdom of Russell Crowe. And nine of them were completely untrue, had never happened, but had been over time reprinted so much that they were now folkloric."

"It was probably easier for me to deal with this huge thing that was happening by having this little thing to do, which was keep the video camera going. Plus, my wife has a record, an absolute record, of something that happened to her that she was not experiencing. And I know it sounds daggy and what have you, but mate, it's a hell of a cool thing to watch. I'm not being self-defensive or whatever— I have absolutely no problem expressing myself. This thing of confusing Bud White or Maximus with who I am is ridiculous. Like it's such a big fucking deal that Russell Crowe might cry? Are you fucking kidding?"

"Probably the biggest difference— the thing that really took my life and changed it , and made my relationship with the press a defensive one instead of one of tolerant amusement or whatever— was Meg Ryan. And, gee whiz, I'm not going to apologize for that situation in my life. It's just there. Well, actually, that's wrong— I would apologize if there are people that were directly hurt from that situation. There was never any intention like that. Quite frankly, it was in the papers before it was a reality, you know? So we were already having to deal with the bullshit, and that possibly brought us close together, because we were both dealing with what it meant to be put in that situation."

"A guy like Hando is abhorrent to me— the philosophy that governs his life is something that disgusts me completely— so that was an interesting learning experience."

"I used to have these very strange situations where I'd be walking down the street and I would imagine people calling out my name. I was as optimistic and as full of hope as anybody could be. And lots of things didn't turn out the way I wanted them to when I was a younger fella, but I didn't lose that thirst to understand what it is that I could do well."

"I went shopping with Danielle yesterday, and we were in a bookstore. And this woman actually said, "Look, Russell Crowe reads— who'd have known?""

"I've always had a thing about being accused of something when I'm not guilty of it, you know? That goes right back to a primary school thing. It's the thing that scares me the most— being blamed for something that I didn't do... And there's that "If you get accused of something and you get angry, then you must be guilty.""

"Every now and then I say something like this and it just sounds so self-righteous— but if there's anything I'm aiming at, it is that I want there to be a trust between me and an audience. I want them to absolutely know that if I've done it, there's some really good fucking reasons; there's something special about it. Sooner or later, the press, the magazine shit, the tabloid sort of shit, that'll all go away, because no matter how many times they say it, it's still not going to be true. What is true is what I put down in movies. Even though it's pretend, that's the truth."

"On the set of Gladiator, I didn’t have a very good relationship with the producers. I had a very good relationship with Ridley [Scott], but the producers couldn’t understand why I wouldn’t just chill out. The reason I wouldn't chill out was because I knew that if I did fucking chill out, in those five minutes something stupid would now be in the movie. Like, they were trying to get me to do a love scene, and I'm saying to them, "What we're doing here is about the vengeance of a man whose wife has been killed— you cannot have him stop off for a little bit of nooky on the way.""

"I don't follow anybody in particular. When people talk about Laurence Olivier or something, I go, "Fuck, man, once you've had De Niro with Raging Bull, that's where you begin.""

"Until I was 25, 1 had one tooth missing. When George Ogilvie cast me, he asked me about it, and I told him the story and that I thought it was very false of me to go and get a tooth cap. He was very nice about it, listened to it all, and said, "All right, well, let me put it this way, Russell. You're playing the lead character in my film, right? The character of Johnny has two front teeth....'"

"I suppose I'm still too young to say everything I want to say, though nobody'd ever give me credit for holding anything back. But I do … I just have no desire or need to slag Joe Fiennes. But I would look at that particular thing differently. I see the opportunity differently."

"I wanted to see that grizzly fucker. I wanted to see him flower. I wanted to see him blossom under the fact of love. I wanted to see where the sonnets came from. They came from the same pen of despair that wrote Timon of Athens— I wanted to see that guy. I wanted to see that guy with the sensibilities of a man that could create a body of work that would last century after century. I wanted to see that... I wanted to play that character. I loved the script. I mean, it was an incredibly well observed script about actors. That's why I thought it was so cool."

"People accuse me of being arrogant all the time. I'm not arrogant, I'm focused. I don't make demands. I don't tell you how it should be. I'll give you fucking options, and it's up to you to select or throw 'em away. That should be the headline: If you're insecure, don't fucking call."

"Some things just come without any real understanding. I don't bother to question it or myself anymore. If you get into a situation like L.A. Confidential, where you can just totally get inside the character, that's a privileged position. Now that I'm more aware of the process I realize it's the position you always want to aim for."

"I get a very deep sense that the generation after Generation X is a very conservative generation, and I'm not sure they understand the commitment part of what I do. I'm not sure if we'll ever be able to regain that ground.... I quite often feel like I'm the youngest of the old guys, where I've got some really old-fashioned philosophies about what's credible and what's not.... Suddenly, someone like me seems like a dinosaur from a different age, but I hope it's the opposite of that. I hope I'm at the forefront of thinking and it'll all come back to that at some point."