I remain, however, fairly optimistic for the future of period drama because it's just such a popular thing.
I'm absolutely delighted if people think of me as a reliable purveyor of quality period stuff.
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.
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.
With a novel, no matter where I am in it, I'm fretting about it. Every time I write a book, it starts with great forward momentum. Then there seems to be a period where it slows down a bit, and other things intervene. Then I gain momentum.
In all the great periods of the drama perfect freedom of choice and subject, perfect freedom of individual treatment, and an audience eager to give itself to sympathetic listening, even if instruction be involved, have brought the great results.
What then is tragedy? In the Elizabethan period it was assumed that a play ending in death was a tragedy, but in recent years we have come to understand that to live on is sometimes far more tragic than death.
A fool is a person who guesses and gets it wrong, a clever man is one who guesses, regardless of time period, and gets it right.
What I love about the currawongs is the way in which they appear from nowhere and, for a brief period, rule the garden's soundscape, only to disappear as quickly as they arrived.
Overseas, America's fighting men and women have been waging war against those who would attack America and plunge the world into a period of darkness, and their success can easily be seen.
We have entered a period of intolerance which combines, as it sometimes does in America, with a sugary taste for euphemism.
From the accession of Henry the Seventh to the breaking out of the civil wars, England enjoyed much greater exemption from war, foreign and domestic, than for a long period before, and during the controversy between the houses of York and Lancaster. These years of peace were favorable to commerce and the arts. Commerce and the arts augmented general and individual knowledge; and knowledge is the only fountain, both of the love and the principles of human liberty.
Every time is a time for comedy in a world of tension that would languish without it. But I cannot confine myself to lightness in a period of human life that demands light. We all know that, as the old adage has it, "It is later than you think." But I also say occasionally: "It is lighter than you think." In this light let's not look back in anger, or forward in fear, but around in awareness.
Why do I feel so exercised about what we think of the people of the Middle Ages? ... I guess it's because so many of their voices are ringing vibrantly in my ears - Chaucer's, Boccaccio's, Henry Knighton's, Thomas Walsingham's. Froissart's, Jean Creton's... writers and contemporary historians of the period who seem to me just as individual, just as alive as we are today. We need to get to know these folk better in order to know who we are ourselves.
Long periods of recession, which tend to be self-perpetuating, are usually ended by war, or by preparations for it.
Every good historian is almost by definition a revisionist. He looks at the accepted view of a particular historic episode or period with a very critical eye.
Poor Knight! he really had two periods, the firsta dull man writing broken English, the seconda broken man writing dull English.
We have entered a period of intolerance which combines, as it sometimes does in America, with a sugary taste for euphemism. This conjunction fosters events that go beyond the wildest dream of satire- if satire existed in America anymore; perhaps the reason for its weakness is that reality has superseded it.
In school, every period ends with a bell. Every sentence ends with a period. Every crime ends with a sentence.
To evoke the classic period of Italian cinema in a little film seemed like a great, fun thing to do. I had relations to that period. I had known Fellini and I had known Antonioni. I had made a movie with Antonioni and I had visited Fellini in his studios. So, it seemed like something worthwhile doing. You bring yourself to that mythical cinema.
I've always played music and I've always been in bands and there have been periods in my life where the music has taken a much more front row seat than any acting. For a big period of time the acting work was really a way of raising money to fund my music. And then that all sort of changed around and that's fine.
I knew a bit but we don't study a lot of British history at school in Australia. We have our own 50-year period to concentrate on.
Because in the feudal system of that period at least 80% of people lived in villages, so it's very simple to get a cross-section of society in a single village. You get the microcosm of the social macrocosm.
Of course there are many films about the period of Fascism itself but I don't know of any about that period beforehand. But it wasn't that specific fact that they weren't there that got me to think about this in the first place. It's not what led to the basic idea for the film, although it became apparent when I began to think about it.
Also for me, I don't make endless movies back to back all the time, I really sort of come to understand and love the characters that I play. And with April and Hanna you sort of go through a weird period of feeling sad about letting them go. Sometimes that takes me a week and sometimes it takes me a couple of months, just so that I can feel I can realign my own thoughts again. I do feel really, really blessed that I've had these opportunities.
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