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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.

Andrew Davies

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Andrew Davies
Age: 88
Born: 1936
Born: September 30
Screenwriter
Writer
Rhiwbeina
Andrew Wynford Davies
Also
Copperfield
Going
Dickens
Adaptation
David
Son
Asked
Instead
Dombey
Working
Trollope

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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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Novels often have leisurely openings a TV drama needs an arresting opening.
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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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I remain, however, fairly optimistic for the future of period drama because it's just such a popular thing.
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The joy of writing drama is putting yourself into different people's heads.
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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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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 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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I would love it if anyone gave me the job of adapting 'The Great Gatsby,' but nobody ever does.
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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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'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 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'm absolutely delighted if people think of me as a reliable purveyor of quality period stuff.
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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 suppose I have the tastes of someone who teaches at a university in the provinces.
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I always do like to write love stories, even if they end tragically.
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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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When you see two writers named on a movie, one of them did some drafts and got the boot.
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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 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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