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Postwar Europe was morally stagnant, and there was a lot of neo-conservatism.

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
Postwar
Stagnant
Conservatism
Morally
Europe

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I wish I was a more adventurous person in a way. But actually, security is a really big deal for me.
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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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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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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 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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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 don't really want to play parts that I think are not fully developed or fleshed out, especially with female roles.
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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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If you are an actress in L.A., on your 40th birthday they should just hand you the keys to the lunatic asylum.
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I think if I was ever really going to be more serious about writing I'd have to try and find some way to do it with other people. I do find the silence kind of eerie.
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I can't spend the rest of my life being pretty in a bonnet.
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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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Female ambition is such a complicated thing to play because it is an aggressive quality, and people respond very badly to women exhibiting any kind of aggression.
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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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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've worked with actors who tell everyone what to do in the scene - that makes me go pretty atomic.
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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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Women don't question themselves when they enter into a story that has male characters, but men do question the validity of a female narrative.
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I think it took a long time for me to realise that as much as I respect reviews and do engage with reviewers as a viewer of the theatre, television and film it's really unhelpful. Even if people make perceptive and interesting comments about your performance, it is so subjective and you will come in and change what you do, you can't help it.
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My alter egos have changed a lot over the years. When I was a child, I was a black horse called Storm. Whinnying and jumping over bamboo poles in the garden took up pretty much my entire childhood.
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