Wales Quotes

I don't look back. I don't look forward. I am totally now.
I don't really read that many magazines; I'm more of a browser. I get 'Vanity Fair' quite often if I'm on a train.
I get the 'Guardian' delivered every day and read it very quickly. I like it for both the TV and theatre reviews and because it's very accessible. At the weekend, I get the 'Observer' because I love the food supplement, Observer Food Monthly, and the style section. And I can't resist the News of the World.
I got dumped off 'The Iron Lady' a month before they started shooting, and then they brought two new writers on. Then I was brought back on again. I'm just a bit of a rubber ball. I just bounce back.
I had a huge interior world as a kid: I'd sit on endless wet holidays in Cornwall playing with paper dolls.
I hope my pieces have an authenticity to them, but my job is to filter the world and tell a story, not to define and recreate exactly what's going on.
I know what it's like to be brought up by actors and writers.
I like bowling with my kids at Shoreditch House.
I literally grew up in drama. I used to watch drama - the catharsis of the play - then see drama at home.
I love the intimacy of TV. I love the fact that you don't necessarily have the pressure of an audience or anyone around watching it - just you and it.
I love the South Bank: every era of architecture is there, and you can stop, look, and listen.
I need to be in charge, and that comes from when I was growing up and money was always an issue. I didn't want to feel the fear of poverty again, and I suppose, in that way, I qualify as Thatcher Youth.
I never get writer's block, but I do have days where I crawl under the duvet.
I never know if I'm the builder or architect. The role shifts all the time. But what I have come to conclude is that the script is the muse.
I spent most of the Seventies living in Newcastle-upon-Tyne and most of the Eighties living in Stoke-on-Trent.
I still always think the greatest moment for me, as a writer, is when I press that button and send the first draft of the script.
I talk to myself all the time - it's something my children have observed in the car.
I think casting is everything. You get a great cast and - certainly, as happens in 'The Hour' - so many of those performances on the page were transformed by those actors who took those parts and made it into something completely different.
I think film and television - particularly film - you are very isolated as a writer. If you're lucky, you have a good relationship with the director. Then you do make that development and come on set and be part of something. But ultimately, your work is kind of done by the time you come on set.
I think I'm always running away from somewhere, and to me, theatre's always felt like a good place to run away to.
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AuthorName
Alan Cranston
Profession
Politician
BirthDate
19 June, 1914
DeathDate
31 December, 2000
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