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I adore doing classic adaptations, but I also feel their frustrations and their limitations.

Andrew Davies

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Andrew Davies
Age: 88
Born: 1936
Born: September 30
Screenwriter
Writer
Rhiwbeina
Andrew Wynford Davies
Also
Adaptations
Feel
Frustrations
Feels
Adaptation
Adore
Limitations
Frustration
Limitation
Classic

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You're stuck with being yourself, so the important thing is to find people who like that.
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The joy of writing drama is putting yourself into different people's heads.
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An adaptation I was working on of Trollope's 'The Pallisers' has been axed by the BBC... I was also going to do Dickens' 'Dombey and Son' but they've asked me to do 'David Copperfield' instead.
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I'm glad nobody has asked me to adapt 'Wuthering Heights' because I think I would make a mess of it. Everybody makes a mess of it. I think the Bronte Sisters are mad.
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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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Rebecca Eaton has made an enormous contribution to the cultural life of America, and, more than that, she is one of the most fun people I know.
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People in the BBC are always dying to get out of their open-plan offices.
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Plan for each episode to be a satisfying experience, but still leave the audience thinking, 'Oh, my God! Now what?
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I'd love to adapt more contemporary novels. But there isn't really enough story and character to make a really satisfying serial, so they tend to be single dramas.
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I suppose I have the tastes of someone who teaches at a university in the provinces.
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Be careful about the advice you give, especially to your children.
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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.
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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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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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Look at Jane Austen. Her characters derive in a reasonably straight line from fairy tales.
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I got quite cross when I heard about Emma Thompson adapting 'Sense and Sensibility.' It was absolutely childish of me, but I thought, 'I should be doing that. They didn't even ask me.' Some mistake, surely.
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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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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.
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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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Novels often have leisurely openings a TV drama needs an arresting opening.
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