Andrew Davies Quotes
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From time to time there is a move to do a little less in the way of period dramas, but people rebel. Audiences say we want them. There is a big hunger for them. I don't think it's sentimentality or nostalgia, it's often that they are simply the best stories.
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A distinguished producer called Kenith Trodd actually lived in his office for over a year - the cleaners refused to go in because it was such a tip.
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One of the things I've always thought is a drag in so many period adaptations is that they are always buttoned up to the neck in so many clothes all the time. I'm always looking for excuses to get them out of their clothes.
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An adaptation I was working on of Trollope's 'The Pallisers' has been axed by the BBC... I was also going to do Dickens' 'Dombey and Son' but they've asked me to do 'David Copperfield' instead.
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I always do like to write love stories, even if they end tragically.
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I would love it if anyone gave me the job of adapting 'The Great Gatsby,' but nobody ever does.
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Be careful about the advice you give, especially to your children.
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I'm not one of these people who say how much better American drama is than English. I find it mostly too American, except for The Sopranos, which I think is the best thing.
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People in the BBC are always dying to get out of their open-plan offices.
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I remain, however, fairly optimistic for the future of period drama because it's just such a popular thing.
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The BBC fulfils a wonderful cultural function. Maybe the problem is that it feels it needs to be everything to everybody.
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I'd love to adapt more contemporary novels. But there isn't really enough story and character to make a really satisfying serial, so they tend to be single dramas.
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You're stuck with being yourself, so the important thing is to find people who like that.
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'Othello' is the most domestic of Shakespeare's tragedies and the one that's likely to strike a personal note with a lot of people watching it.
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I suppose I have the tastes of someone who teaches at a university in the provinces.
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I adore doing classic adaptations, but I also feel their frustrations and their limitations.
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Taking the humour out of Dickens, it's not Dickens any more.
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The writer in movies is about as low as you can get and you really are a hired hand. You are paid a lot of money to be treated like dirt.
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The most moving scene for me in 'Pride and Prejudice' is the Pemberley music room scene: Elizabeth has just saved Darcy's sister from embarrassment and confusion, and as the music plays on, Darcy's look of gratitude becomes a look of love, which we see reciprocated in Elizabeth's eyes.
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I got quite cross when I heard about Emma Thompson adapting 'Sense and Sensibility.' It was absolutely childish of me, but I thought, 'I should be doing that. They didn't even ask me.' Some mistake, surely.
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My wife likes history and documentaries, but I'm not so keen on them. I generally go and do some work if there's one of those on.
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Most actors hate readthroughs - they're exposing themselves before they're ready to, and before they've bonded. But I love them because they give us all the first inkling of what the whole show is going to be like, how each part affects every other part, and we won't see that again until it's all edited together.
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Plan for each episode to be a satisfying experience, but still leave the audience thinking, 'Oh, my God! Now what?'
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I prefer love scenes to be shot up close with a lot of focus on eyes and mouths. Otherwise it can feel uncomfortable and voyeuristic.