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"I love change, variety.
I am an actor." /�.1/
"Peter Dews and Michael Croft were my great
teachers, and I was immensely lucky; in my first year out of drama school I
got that Birmingham season, a transfer to the Vaudeville in As You Like It,
a television series with Malcolm McDowell, and the offer from Peter O'Toole
to audition for Lion in Winter,
which I made while I was still 21." /L. 2/
"I would I were a great actor. I'll never
forget the three months with Peter O'Tul at filming of
"The Lion in Winter".
He always was exclusively large-hearted to beginners, like me. He was
uncommon actor who had so great attractiveness. /L.3/
"It all seemed to be happening far too fast,
and I got very nervous about my own lack of experience, so as soon as the
filming was over, I went back into Rep in Birmingham and Coventry, and from
then on I tried not to spend too much time away from the theatre, though big
films, like
Mary, Queen of Scots and
Wuthering Heights came along fairly
fast." /L.2 /
"Still, I was nervous about being away from
the theatre, where I knew I really belonged. So from 1970 to 1975 I decided
to make no films at all, staying instead with the RSC and Prospect on stage,
only then to discover that nobody in films had the faintest idea who I was,
because memories there seem to be very much shorter than in the theatre."
/L.2 /
"It was not my aim to become a star or to get
much money. First of all I was intereasted in the real work: in theatre, in
filming, on TV, more variety of roles." /L.3/
"There was no money around on stage, so I had
to rebuild a film career, and I discovered the wonderful world of
international television mini-series, like
Centennial and
Sins, which pay
enough to let you go back to the theatre whenever you like." /L.2/
Yes, "You may occasionally have to turn up on
screen in appalling scripts, but as long as you make your own performance
work, and genuinely do the best you can with the dialogue they give you,
then I don't think there's any real dishonour. Life isn't all jam: you have
to do the bread and butter work as well." /L.2/
"If there is a serious role, the role you
would like to play, if this role can clear some human problems for viewers,
it's of no import, using what means you are doing it - cinema or theatre.
I will continue my work in theatre, filming and on TV until the moment my
work will be successful and gratifying for the viewers."/L.4/
*****
In 1981 "Michael Powell and I started work
last year on the English script of a life of Pavlova which the Russians
wanted us to make over here; I was going to play the husband who blew all
her money, and they've got a great Russian star for Pavlova, and I'd just
come home for Christmas to start learning it when Trevor rang and offered
Hotspur. So I had a week of soul-searching, decided I really did want to be
in at the beginning of the Barbican, and told the Russians. They were very
understanding and I went out and got James Fox instead. I just hope I made
the right decision; it's cost me three hundred thousand dollars...." /L.2/
"If this doesn't work out for me at the
Barbican, I can go back to American television with a clear conscience; do
you realize that an extra out there gets a minimum of 400 pounds a week? I've
never understood why the English theatre believes its leading actors should
get less than the average middle-manager of a Nottingham plastics factory.
It's not that I need a fortune, but they could double all acting salaries in
this country and we'd still be grossly underpaid. It's partly because actors
have lost power; directors and writers now control our lives, yet when the
lights go up on the stage every night it's still the actor who is out there
on his own." /L. 2/
"I'm not a terribly good company man; I
really don't believe in democracy and shared responsibility and long
discussion. I like to get out there and do it. Which is maybe why I don't
work so much in this country."/L.2/
"Bond is a welcome change after being cast
so many times as the mystery lover. " /L.5 /
"The differences between James Bond and
myself are extreme. It's strange, because, as an actor, I must look for
common identities in order to express Bond through me - but it isn't easy.
Obviously, I don't know, what it's like to be a secret agent, and I'm
certainly not licensed to kill. And I don't know if I would want to be
licensed to kill. Well, you never know, do you? There are odd times when
it has flashed across my mind."/L.6/
"I expend money on doing plays in theatre,
to take participation in them because in theatre we are constantly grossly
underpaid."/L.7/
In 1989 "I've done a wonderful script called
Hawks, about a man at death's door escaping to Amsterdam to discover what
life is all about; and I know they would never have raised the money on that
one, if it hadn't been for Bond. Never knock a success, especially if it
pays for something you really believe in." /L.2/
"What I did not realize that however well
you work yourself to preserve your own identity, however well you think
you're accomplishing that what you don't realize is how ineluctably shaped
you are because everybody else is besieging you with
James Bond. You're
almost trapped in a world of everybody else's perception."/L.8/
"Producers didn't want me in their films
because I was too specifixcally identified as
James Bond. That's why I went
to Tv to carve out a new niche.
It's the reason I agreed to play Rhett Butler
in (the CBS mini-series)
Scarlett. It took tackling another screen icon to
break the Bond mould." /L.9/
One day "I saw Pierce holding that gun. I
suddenly felt a wonderful release. I suddenly felt free, felt a weight
falling away from my body. Only then I realized I'm back to being myself
again, free. Me." /L.8/
"All my career, people have asked, "Why don't
you do comedy in movies?". I've done a lot of comedy on the stage. And all
my life I've longed - longed - to do a movie comedy. This is the first
time. And I loved it." /L.1/
"There is a special pleasure in doing comedy
because it's a really important part of our lives.
It's what we use when we're in trouble. It's
what we go to make our days better, to make our lives better. It goes deeper
in the soul, then just the surface, doesn't it?
Where we were kids, didn,t we like telling
jokes to each other, dressing up and playing games with each other, having
fun? We often forget, that as we're growing up. But I think it's important
to keep the fun among us all, as adults." /L.1/
"I could never say which of my parts had
most satisfied me or which was my favorite. Even my failures are my
blood, my sweat, my care, my love, part of me; and I can't disown
them." /L.10/
List of reference
1. Susan Stark.Timothy Dalton bonds with his
comedic side in his first funny role on film. Detroit News Film Critic.
7.02.97.
2. Excerpts from Mr. Dalton's
interviews in chapter "Theatre" of Timothy Dalton's Official Home Page.
3."Glorious one with license to kill".
The article in the "�������" magazine from the beginning of 90-th. (This
material was given by Julia from Moscow.)
4. The article, devoted to "Jane Eyre" movie.
"����������� � ������������", �3, 1989.
5. Timothy Dalton to Corrina Honan of
the "Daily Mail".
6. "Former James Bond says hold the martinis".
Associated Press. 13.02.98.
7. Interview to Vs. Shishkovsky. "�����������
� ������������", �3, 1989.
8. Luaine Lee. Interview with Timothy
Dalton, starring in ABC movie. Scripps Howard News Service. 11.05.99.
9. Louis B. Hobson.Dalton's Bond is broken.
"Calgary Sun", 04.02.97.
10. "Timothy Dalton Finds A Hamlet in the Hero."
New York Times, 26.07.87 Page H21.
[About Himself]
[My Roles]
[Brief Info]
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