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Plan for each episode to be a satisfying experience, but still leave the audience thinking, 'Oh, my God! Now what?

Andrew Davies

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Andrew Davies
Age: 88
Born: 1936
Born: September 30
Screenwriter
Writer
Rhiwbeina
Andrew Wynford Davies
Plan
Plans
Leave
Audience
Experience
Stills
Episode
Still
Episodes
Thinking
Satisfying

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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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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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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 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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People like bonnets. I don't think you can under-estimate that.
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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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When you see two writers named on a movie, one of them did some drafts and got the boot.
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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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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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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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Novels often have leisurely openings a TV drama needs an arresting opening.
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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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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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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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You're stuck with being yourself, so the important thing is to find people who like that.
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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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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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