Zitat des Tages von Tim Pigott-Smith:
When you've won the war, you're faced with the problem of winning the peace.
American writers reduce the length of time devoted to exposition and character development.
I've played quite a lot of real people, and it carries a special responsibility.
I seem to get cast as one of two extremes. Either I play the butch heavy or totally nice guys.
I didn't like my first primary school in Leicester very much. As I was going home on my tricycle one day, I said, 'There's no reading, no writing and no arithmetic - it's really boring!' So I was sent to St John the Baptist Church of England Primary.
In television, I was first cast as a cavalry officer because of my name.
I earn a lot of money in England doing voice-overs, especially in documentaries. Turn on the Discovery Channel here, and you'll hear my voice a lot. It subsidizes my vice of acting in the theater.
You normally either get bitten by a character and decide that is the way to play it, and then that begins to inform everything you do, or you decide, 'I don't need to use much character in this - I have basically got to be me'.
The 'reality' shows on television, the Internet, these things have encouraged people to behave with less and less restraint. We are broadcasting our emotions in public in a way that has never happened before.
You wouldn't read 'Anna Karenina' and try to work on the computer at the same time, would you?
Performing King Charles in Mike Bartlett's astonishing play in London and New York has been one of the high points of my career.
What makes Biarritz special, as far as I'm concerned, are the fantastic coastline, the beaches - such as the Cotes des Basques - and the sea.
Perhaps it's an accident of nationality, but the English treasure subtlety and appreciate not having everything spelled out for them, while Americans want everything made apparent.
When you're in a good play and a good production, you find that you're in something that has a life beyond you. You think, 'Oh my goodness, this play's alive.'
Hollywood's best producers and directors are in film, not TV.
You had to be there at the time to understand the wild creative energy of the Fab Four, and this contains forays into Indian music as well as classics such as 'When I'm Sixty-Four.'
Drama at Bristol was an academic course: you were judged on your A-levels, and there were no auditions. I did a BA General degree.
People are fed up with broadcasters pushing the boundaries too far.
I always remember to go on the Staten Island Ferry because it's the most amazing view of New York. And it's free! You see Ellis Island, and it conjures up something of that great moment: you know, the huddled masses yearning to breathe free. It's staggering.
In England, anybody who was alive remembers an interview between the press and Charles and Diana, right after they became engaged. One of the press asked Charles if he loved her. And he said, 'Oh, well, whatever love means.' Boy, it was a terrible answer.
I never wanted to do film. I don't have the right face, and I don't like stardom. I like the fact that I have this wonderful thing that gives you status, but I'm most interested in doing decent work.
After a West End run, in which I was promoted to Laertes, I joined the RSC in 1972. I had fulfilled my dream.
The Almeida's artistic director, Rupert Goold, brought me Mike Bartlett's 'King Charles III' with the slightly apologetic warning that it was in blank verse, but, of course, that appealed to me.
After 'Jewel In the Crown,' I hardly worked at all for about six months - which came as a bit of a surprise, I have to admit.
Your response to literature is to do with maturity; if you don't respond to a book or a poem when you are 12, you might when you are 13.
For sheer excitement, a weekend in New York is unbeatable. Arrive on Friday morning, leave on Monday night, and don't worry about jet lag - just buzz for four days.
When I get thinking, I get very knotted up. I chew things over a lot and take things quite seriously.
Fame changed my life completely because, for a while, I was in a position to choose what I did. I miss that aspect. But I always felt uncomfortable with it.
I would say that the money that was invested in me by Warwickshire Education Authority, which they did for five years, has been repaid a hundred times over. I have paid a lot more back to them in tax than they paid in support to me, but they helped me on my way - they launched me; they got me going.
People wrote about me and started calling me a star, and I just hated it. There are aspects of it that are great - I mean, you can ring up any restaurant and get in, can't you.