Hugh Laurie (playing Mr. Palmer) felt the line 'Don't palm all your abuses [of language upon me]' was possibly too rude. 'It's in the book,' I said. He didn't hit me.
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Press conference [on the movie ] yielded the usual crop of daftness. I've been asked if I related personally to Carrington's tortured relationship with sex and replied that no, not really, I'd had a very pleasant time since I was fifteen. This elicited very disapproving copy from the Brits.. No wonder people think we don't sex in England.
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Shooting Willoughby carrying Marianne up the path... Male strength -- the desire to be cradled again?.. I'd love someone to pick me up and carry me off. Frightening. Lindsay assures me I'd start to fidget after a while. She's such a comfort.
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Lindsay [Doran] goes round the table and introduces everyone -- making it clear that I am present in the capacity of writer rather than actress, therefore no one has to be too nice to me.
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I ask Laurie if it's possible to get trained fish. Lindsay says this is how we know I've never produced a movie.
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Difficult for actors to extemporise in nineteenth-century English. Except for Robert Hardy and Elizabeth Spriggs, who speak that way anyway.
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The fire alarm went off. Fire engines came racing; we all rushed out on the gravel drive, everyone thinking it was us. In fact, one of the elderly residents of Saltram had left a pan on the oven in her flat. Apparently this happens all the time. The tenant in question is appearing as an extra -- playing one of the cooks.
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I seem finally to have stopped worrying about Elinor, and age. She seems now to be perfectly normal -- about twenty-five, a witty control freak. I like her but I can see how she would drive you mad. She's just the sort of person you'd want to get drunk, just to make her giggling and silly.
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Jane reminds us that God is in his heaven, the monarch on his throne and the pelvis firmly beneath the ribcage. Apparently rock and roll liberated the pelvis and it hasn't been the same since.
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Paparazzi arrived for Hugh [Grant]. We had to stand under a tree and smile for them. Photographer: 'Hugh, could you look less -- um --'Hugh: 'Pained?
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We've hired the calmest babies in the world to play the hysterical Thomas. One did finally start to cry but stopped every time Chris [Newman (assistant director)] yelled 'Action'... Babies smiled all afternoon. Buddhist babies. They didn't cry once. We, however, were all in tears by 5 p.m.
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Signs litter Devon -- arrows with on. Whenever Ang [Lee] sees a B
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[Over breakfast] We discussed the 'novelisation' question. This is where the studio pay someone to novelise my script and sell it as. I've said if this happens I will hang myself. Revolting notion. Beyond revolting. Lindsay [Doran] said that the executive she had discussed it with had said 'as a human being I agree with you -- but..' I laughed until my porridge was cool enough to swallow.
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Edward finds Elinor crying for her dead father, offers her his handkerchief and their love story commences. Ang [Lee] very anxious that we think about what we want to. I'm very anxious not to anything and certainly not to think about it.
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Our first point of discussion is the hunt. (..) My idea is to start the film with an image of the vixen locked out of her lair which has been plugged up. Her terror as she's pursued across the country. This is a big deal. It means training a fox from birth or dressing up a dog to look like a fox. Or hiring David Attenbrorough, who probably knows a few foxes well enough to ask a favour.
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