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I remain, however, fairly optimistic for the future of period drama because it's just such a popular thing.

Andrew Davies

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Andrew Davies
Age: 88
Born: 1936
Born: September 30
Screenwriter
Writer
Rhiwbeina
Andrew Wynford Davies
Drama
Periods
However
Future
Fairly
Thing
Optimistic
Popular
Period
Remain

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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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I always do like to write love stories, even if they end tragically.
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Taking the humour out of Dickens, it's not Dickens any more.
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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 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 adore doing classic adaptations, but I also feel their frustrations and their limitations.
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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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People in the BBC are always dying to get out of their open-plan offices.
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Be careful about the advice you give, especially to your children.
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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.
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I suppose I have the tastes of someone who teaches at a university in the provinces.
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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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The joy of writing drama is putting yourself into different people's heads.
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The writer in movies is about as low as you can get and you really are a hired hand. You are paid a lot of money to be treated like dirt.
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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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You're stuck with being yourself, so the important thing is to find people who like that.
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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 was getting rewarded for writing well, from about the age of five or six. A teacher would say, Look what Andrew has written, and I thought, Maybe I could be a writer.
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My wife likes history and documentaries, but I'm not so keen on them. I generally go and do some work if there's one of those on.
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A distinguished producer called Kenith Trodd actually lived in his office for over a year - the cleaners refused to go in because it was such a tip.
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