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Certainly in the second film [Maigret's Dead Man], which is quite a more unpleasant and darker story, it's quite different in tone and feel.

Rowan Atkinson

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Rowan Atkinson
Age: 69
Born: 1955
Born: January 6
Actor
Comedian
Electrical Engineer
Film Actor
Film Producer
Manufacturer
Screenwriter
Stage Actor
Television Actor
Voice Actor
Mr Bean
Rowan Sebastian Atkinson
Stories
Unpleasant
Feel
Tone
Feels
Certainly
Different
Second
Men
Dead
Quite
Story
Maigret
Film
Darker

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I want to express myself in a different way. I have a performing inclination.
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I don't think you should be too absolutist about what you play and what you don't play.
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When you play a serious role, as far as I'm concerned, I feel I'm using exactly the same skills, whatever they are, to play the role as you do with something more obviously comic. It's slightly different muscles, but the same skill set.
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It's the difficulty we had with Mr. Bean, actually, when it went from TV to film. You certainly discover that you need to explain more about a character.
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People think because I can make them laugh on the stage, I'll be able to make them laugh in person. That isn't the case at all. I am essentially a rather quiet, dull person who just happens to be a performer.
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It is very linear storytelling, and I think that's not so much the fashion. I was watching a new drama the other night which was extremely non-linear, where you flash back and flash forward in ways that certainly keeps you on your toes as the audience. There's not much of that courage with the storytelling in our Maigret film.
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To criticise a person for their race is a manifestly irrational and ridiculous. But to criticise their religion - that is a right. That is a freedom.
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Look, if I'd wanted a lecture on the rights of man, I'd have gone to bed with Martin Luther.
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Get that right, then- if you get the quality right, then the marketability or whatever your ability to sell videos or your ability to earn money or whatever, will follow naturally. But try to be creatively lead rather than market lead. And that's important to me.
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The character [Maigret] is bound to change and develop, and I wouldn't like to claim that we are perfectly formed straight out of the box. I think it's what I'd call an 'optimistic start'. As you know, for me, no glass is anything other than half empty, so I apologise for my reticence in terms of promoting this programme.
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I'm sure that a French production of this [Maigret series] would be different. For better or worse, who's to say, but probably not very good for 8 o'clock on ITV.
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I think you're bound to get a sense of any character that you play. It's not something you often do in comedy.
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I have always believed that there should be no subject about which one cannot make jokes, religion included. Clearly, one is always constricted by contemporary mores and trends because, after all, what one seeks above all is an appreciative audience.
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At the moment, I'm certainly not thinking 'never again', but neither am I thinking 'I can't wait to play that part again'. I'm somewhere in between.
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Your services might be as useful as a barbershop on the steps of a guillotine.
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The Maigret stories are all very different in terms of the content and the way that the stories are told. They're not what I would call formulaic.
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Confronting a stadium audience, you can't see the whites of their eyes. It's just an amorphous mass of noise and, of course, you can't see the alleged billions watching at home either, so the degree to which you are intimidated is quite low.
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