Baddies always do get the best lines, that's the honest truth.
It's weird, because usually if you're British and you go to America you play baddies; but I play naughty people here and goodies in America.
If you think about Shakespeare, you remember Richard III and Macbeth before you remember Ferdinand, whose role is just to fall in love and be a bit of a wimp. I love the baddies. More important, though, is making the baddies somehow, weirdly, understood.
Being born with a pair of beady eyes was the best thing that ever happened to me.
The only thing that stops a bad guy with a gun is a good guy with a gun.
Mr. President, the only thing that stops a bad guy with a nuke is a good guy with a nuke.
I continue to explain that plot inconsistencies in B movies are consistent, and should not be allowed to undermine one's enjoyment of the action, nor the fundamental credibility of the storyline: the good & bad guys are clearly delineated & easily recognizable, the hero duffs over the baddies, things blow up loudly & spectacularly, the good guy wins. Entirely credible.
All the best of the monsters played for sympathy. That goes for my father, Karloff, myself and all the others. They all won the audience's sympathy. The Wolf Man didn't want to do all those bad things. He was forced into them.
The Prime Minister seems now to be basing his re-election campaign on this plot line. He is saying to the Australian people, look out, the baddies behind you - hiss, boo and whatever you do, don't vote Labor. This political parody of pantomime is looking and sounding desperate.
I've been very lucky at what's happened in my career to date, but playing something as far from me as possible is an ambition of mine - anything from a mutated baddy in a comic book action thriller, to a detective. If anything, I'd like Gary Oldman's career: he's the perfect example of it. I've love to have a really broad sweep of characters - to be able to do something edgy, surprising and unfashionable.
We often get pigeon-holed as a tough guy, or whatever else. I've been pigeon-holed as a heavy and serious, and almost a baddy, but not quite a baddy, over the years of my work in television, particularly.
Audiences always love the baddies. Especially these ones that are so witty and charming and outrageously devious - everything you're not supposed to be. I think it speaks to the basic, primal nature in us.
I'll tell you, there's no goodies and baddies in the world, there's just people with intentions that sometimes clash.
There is of course a dark side to panto because there are always baddies and you can't have a baddie without a dark side. But most of the time the baddies become good.
Middle-aged women on telly is a bit of a hot topic - before, we were 27 to 37, and now we're 40 to 50. You do notice as you get older... you go past 35, and suddenly you're playing baddies.
There's this thing that you're not meant to have too many children - for global warming, it's bad. But I know lots of crappy people, and I would rather that good people have lots of kids and outnumber the baddies.
The idea of goodies and baddies has always fascinated me, and what people consider to be a goodie or a baddie, because I've never seen any of my characters as baddies.
It's a cliche, but it's true that all the fun lies in baddies, grotesques and comic roles.
Kiran says (the shelf) is full of stories. If it is, then I like fairy stories. Fairy stories are fair. In them wishes are granted, words are enchanted, the honest and brave make it safely through to the last page and the baddies either have to give up their wickedness for ever and ever, no going back, or get ruthlessly written out of the story, which they hardly ever survive. Also in fairy stories there are hardly any of those half-good half-bad people that crop up so constantly in real life and are so difficult to believe in.
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