Lesley Manville Quotes
I had left school at 16, gone to stage school - and, until I was 22, I hadn't really played anyone but myself. Then in 1979, I made a film with Mike Leigh called 'Grownups,' which went out on the BBC, and overnight this new career opened up.
Quotes to Explore
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I tested for a couple of pilots, but they said I was too tall.
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America tends to worship the modest talent because it doesn't put us in an uncomfortable position vis-a-vis the artist.
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I shouldn't say this, but I always love the sidekicks. I want to do a leading-lady role in a film - absolutely. But I find that a lot of times I get attracted to the sidekick role. They stand out a little more because they're quirkier, they're funnier, they're crazier.
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I think we know how to do Mars.
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I want 'The Lady' magazine to be restored to its traditional place in the pantheon of weekly magazines.
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I'm like a mechanic. If you break down and phone the AA, they'll come to you whether it's raining or snowing. That's what an actor should do.
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I was afraid I would see someone from my past who thought I was this big athlete, and then I end up being just normal.
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What we call the beginning is often the end. And to make an end is to make a beginning. The end is where we start from.
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Politics is largely a matter of heart.
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Bad things do happen; how I respond to them defines my character and the quality of my life. I can choose to sit in perpetual sadness, immobilized by the gravity of my loss, or I can choose to rise from the pain and treasure the most precious gift I have - life itself.
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Our relationship with Mexico in this regard is unique for us, and in many respects unique in the world.
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This applies to many film jobs, not just editing: half the job is doing the job, and the other half is finding ways to get along with people and tuning yourself in to the delicacy of the situation.
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You should always leave the party 10 minutes before you actually do.
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I have a 'Mailer-Breslin and the 51st State' poster, and a neon-pink sign of Raoul's in SoHo, one of my favorite restaurants.
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If you are not too long, I will wait here for you all my life.
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So if Arizona sees the federal government isn't assuming its responsibilities, it creates local laws. But migration and keeping security on the borders is not a local or state issue, it's a federal issue.
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There are times that you have a plot in your head, but then you find that the characters don't want to do that. When you're looking at the story from the outside, you can create whatever twists and turns you want. But when you're writing, you're inside the characters' heads, and you see that they may be motivated to do something different.
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I like cinema. I am very fond of it. But from time to time I feel like having some time on my own.
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It makes me forget that I'm not going to be a major star and lead female in films whether it was 20 years ago, 10 years ago, five or in the future.
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From a young age, I had done a lot of theater and musical theater. I wasn't really sure what I wanted to do with my life, but every time I was away from acting, I just felt very incomplete and a little stir crazy.
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I think of being an actor as kind of a young man's gig. It's emasculating, in a way, people messing with you and putting make-up on you and telling you when to wake up and when to go to sleep, holding your hand to cross the street. I can do it up to a certain point, and then I start to feel like a puppet.
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Strange bonds of trust and self-deception tend to grow between journalists and their subjects.
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To generate creative ideas, it's important to start from an unusual place. But to explain those ideas, they have to be connected to something familiar.
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I had left school at 16, gone to stage school - and, until I was 22, I hadn't really played anyone but myself. Then in 1979, I made a film with Mike Leigh called 'Grownups,' which went out on the BBC, and overnight this new career opened up.
