Laetitia Pilkington Quotes
by the general love of scandal and detraction in Dublin, one might reasonably imagine they were all to feed themselves through the holes which they had made in the characters of others.
Quotes to Explore
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I've made up little mantras for myself, catchphrases from a screenwriting book that doesn't exist. One is 'Write the movie you'd pay to go see.' Another is 'Never let a character tell me something that the camera can show me.'
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I don't know if I've ever played a character who's close to me. There have been some elements of myself in different roles. Sometimes, I show one side of myself and then completely conceal the other.
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It's really interesting working in television as opposed to the theater, where you know the arc of the character and you are able to create this whole backstory.
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I'm trying to learn to smoke, which is rather weird when everyone is trying to stop. I'm not a smoker. But my character only smokes as an affectation.
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Sometimes it's less about the character and more about the story for me. I'll play a rock in the background if I think the story is fantastic and I can be a part of it somehow. That's what I look for.
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Don't worry so much about your self-esteem. Worry more about your character. Integrity is its own reward.
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What is extraordinary about the character of Edna - and I speak as though I am completely outside this character and I am talking to you - I'm, as it were, in the wings, and she's on stage, and every now and then she says something extremely funny, and I stand there and think: 'I wish I'd thought of that.'
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It just seemed like an unattainable dream to go down to Los Angeles and to land a professional working, acting gig on a show that you really love with a character you really connect with. That doesn't seem possible; that seems insane.
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Anne Boleyn is an intriguing character. She seems to appeal to modern-day women in a very potent way. Because she was such an independently opinionated and spirited young woman, which at the time was unheard of.
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In the biographical novel, there's only one person involved. I, the author, spend two to five years becoming the main character. I do that so by the time you get to the bottom of Page 2 or 3, you forget your name, where you live, your profession and the year it is. You become the main character of the book. You live the book.
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The incentive for digging up gossip has become so great that people will break the law for the opportunity to take that picture. Then it crosses the line into invasion of privacy. The thing that's really bad about it, though, is that the tabloids don't tell the truth.
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Escapism, we are led to believe, is evidence of a deficiency in character, a certain failure of temperament, and like so many -isms, it is to be strenuously avoided. 'How do you expect to get ahead?,' people ask. But the question altogether misses the point. The escapist doesn't want to get ahead. He simply wants to get away.
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All my stories are about the action of grace on a character who is not very willing to support it, but most people think of these stories as hard, hopeless and brutal.
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I've never judged anybody by how they look or how they dress. I basically judge them on their character. And that's how I lead my own life.
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I started in theatre, and for me, it was all about transformation. You transform into the character that you're playing.
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What drew me to the character is that Roberto Duran is the son of an American soldier - a Marine - stationed in Panama and a humble Panamanian mother, and he was abandoned.
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I have done theatre, and I enjoy the process of smaller films a lot more. When I do such films, there are certain things which I get to do which are untapped. The scenes give me the liberty to play and mould the character in accordance to the director's mindset.
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I'm proud that Della was sort of a prototype for TV secretaries. There really was no such established character on TV when 'Perry Mason' came along.
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If I have one advantage, it's that I will try to work harder than the next guy.
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Non-violence is not a garment to be put on and off at will. Its seat is in the heart, and it must be an inseparable part of our being.
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I have a big thing with eye contact, because I think as soon as you make eye contact with somebody, you see them, and they become valued and worthy.
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John Carpenter was very gentle. He was very tender. He really liked talking to actors. He really wanted you to be comfortable. He waited until you were ready to do the scene, and he has a lot of confidence.
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What fetched me instantly (and thousands of other newcomers with me) was the subtle but unmistakable sense of escape from the United States.
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by the general love of scandal and detraction in Dublin, one might reasonably imagine they were all to feed themselves through the holes which they had made in the characters of others.
