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'Affinity' is beautiful and intense, with no laughs. It's a rather delicate and emotional love story, with a spooky element.

Andrew Davies

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Andrew Davies
Age: 88
Born: 1936
Born: September 30
Screenwriter
Writer
Rhiwbeina
Andrew Wynford Davies
Emotional
Laughing
Spooky
Story
Affinity
Rather
Laughs
Beautiful
Delicate
Stories
Element
Love
Intense
Elements

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Look at Jane Austen. Her characters derive in a reasonably straight line from fairy tales.
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I suppose I have the tastes of someone who teaches at a university in the provinces.
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As a fairly innocent teenager, growing up in a village in Wales, I just thought, God, I would like to go and hang about Soho and write great poetry and try to avoid drinking myself to death.
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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.
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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.
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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.
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Most actors hate readthroughs - they're exposing themselves before they're ready to, and before they've bonded. But I love them because they give us all the first inkling of what the whole show is going to be like, how each part affects every other part, and we won't see that again until it's all edited together.
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I prefer love scenes to be shot up close with a lot of focus on eyes and mouths. Otherwise it can feel uncomfortable and voyeuristic.
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People like bonnets. I don't think you can under-estimate that.
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The BBC fulfils a wonderful cultural function. Maybe the problem is that it feels it needs to be everything to everybody.
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I'm not one of these people who say how much better American drama is than English. I find it mostly too American, except for The Sopranos, which I think is the best thing.
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Be careful about the advice you give, especially to your children.
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I remain, however, fairly optimistic for the future of period drama because it's just such a popular thing.
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When you see two writers named on a movie, one of them did some drafts and got the boot.
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I had a mother who was very emotionally demanding, wanting to be the centre of attention. As they say in EastEnders, she thought it was all about 'er. I spent a lot of time trying to work out what was going on.
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I would love it if anyone gave me the job of adapting 'The Great Gatsby,' but nobody ever does.
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Taking the humour out of Dickens, it's not Dickens any more.
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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.
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I had a very high opinion of my father's judgement of things and he said, You better get a job that pays the bills because a writer doesn't make any money. If possible, get a job that allows you to write in your spare time.
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I adore doing classic adaptations, but I also feel their frustrations and their limitations.
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