'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.
I adore doing classic adaptations, but I also feel their frustrations and their limitations.
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.
You're stuck with being yourself, so the important thing is to find people who like that.
'Affinity' is beautiful and intense, with no laughs. It's a rather delicate and emotional love story, with a spooky element.
I know that a ridiculous number of classic serials have been commissioned, and that reviews show a reaction against them. The critics seem fed up.
I suppose I have the tastes of someone who teaches at a university in the provinces.
I used to have this Mercedes, a dark blue 450SLC, which was the most beautiful car. I'd like to have another unusual, beautiful car.
Look at Jane Austen. Her characters derive in a reasonably straight line from fairy tales.
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.
I'm absolutely delighted if people think of me as a reliable purveyor of quality period stuff.
The BBC fulfils a wonderful cultural function. Maybe the problem is that it feels it needs to be everything to everybody.
Novels often have leisurely openings; a TV drama needs an arresting opening.
People in the BBC are always dying to get out of their open-plan offices.
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