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I've worked with actors who tell everyone what to do in the scene - that makes me go pretty atomic.

Romola Garai

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Romola Garai
Age: 42
Born: 1982
Born: August 6
Actor
Actress
Film Actor
Film Director
Stage Actor
Hong Kong SAR
China
Romola Sadie Garai
Pretty
Actors
Everyone
Tell
Makes
Atomic
Worked
Scene

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You don't have to conform to a very specific aesthetic today, whereas 1950s women definitely had to.
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Motherhood so often comes in conflict with women's capacity to express and live their own lives.
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I can't spend the rest of my life being pretty in a bonnet.
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We live in a society where children are expected to become adults overnight.
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The worst thing you can do as a performer is to judge your character in any way, positively or negatively.
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I think it's very repressive for a woman to be constantly told that she has to make films about women to better represent women, but then the reverse is not found.
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I have a very strong, probably slightly aggressive personality, and so that just ends up coming out regardless of what I try to do.
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I'm not interested in going to see films that massively overrepresent men over women. It's lik,e how much more have we got to say about this? Like men in war and dealing with their masculinity in conflict. I just think we've exhausted the landscape.
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I just don't believe you're capable of being an actor unless you have a desire to experience your emotions in a public way.
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Postwar Europe was morally stagnant, and there was a lot of neo-conservatism.
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I get grumpy about the innate conservatism of our tastes I love bold theatre, and I get annoyed when a heritage piece is really successful.
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I cheated at the Model United Nations when I was 13 and had to get up and apologise in front of the whole conference.
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As a kid, I really loved 'Jane Eyre,' I used to fantasise that the past was so much better and my lifetime was crap.
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I'd actually really love to review books and films and plays, but you can't be an artist and a critic. I would love it if I could.
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When you're on stage, you build strong relationships with the actors, but it's a story you tell with the audience - you have to include them, you have to respond to them, they have to understand the narrative.
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When you talk to women who were working as print journalists or in broadcasting in the '50s, and then you talk to women who were working in the late '60s, there's an enormous difference. There had already been a huge transition. Then, of course, you get well into the '70s and there were women with children working.
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I think I was quite lucky in that I went to an all-girls school. I was never put in an environment where I had to be the other - the woman as opposed to the man - all the way through my education. I was never made to feel that way at home.
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I really like films and plays that cross over different genres. So I'd like to do something that you think is a drama and then you think is a supernatural thing and then becomes a drama again. That's very vague.
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I get quite disappointed that we're still telling stories that I think are problematic in terms of what they're saying about women.
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If you're going to make great art, you have to make it at a huge cost - you have to be prepared to sacrifice what other people think of you, other people's opinions, and you have to make personal sacrifices.
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