Following are some Andrew Davies quotes which we have in our database of Quotes of Andrew Davies.
The most moving scene for me in 'Pride and Prejudice' is the Pemberley music room scene: Elizabeth has just saved Darcy's sister from embarrassment and confusion, and as the music plays on, Darcy's look of gratitude becomes a look of l
I used to have this Mercedes, a dark blue 450SLC, which was the most beautiful car. I'd like to have another unusual, beautiful car.
'Othello' is the most domestic of Shakespeare's tragedies and the one that's likely to strike a personal note with a lot of people watching it.
An adaptation I was working on of Trollope's 'The Pallisers' has been axed by the BBC… I was also going to do Dickens' 'Dombey and Son' but they've asked me to do 'David Copperfield' instead.
From time to time there is a move to do a little less in the way of period dramas, but people rebel. Audiences say we want them. There is a big hunger for them. I don't think it's sentimentality or nostalgia, it's often that they are simply
Plan for each episode to be a satisfying experience, but still leave the audience thinking, 'Oh, my God! Now what?'
One of the things I've always thought is a drag in so many period adaptations is that they are always buttoned up to the neck in so many clothes all the time. I'm always looking for excuses to get them out of their clothes.
My wife likes history and documentaries, but I'm not so keen on them. I generally go and do some work if there's one of those on.
I had a mother who was very emotionally demanding, wanting to be the centre of attention. As they say in EastEnders, she thought it was all about 'er. I spent a lot of time trying to work out what was going on.
I'm glad nobody has asked me to adapt 'Wuthering Heights' because I think I would make a mess of it. Everybody makes a mess of it. I think the Bronte Sisters are mad.
The writer in movies is about as low as you can get and you really are a hired hand. You are paid a lot of money to be treated like dirt.
'Affinity' is beautiful and intense, with no laughs. It's a rather delicate and emotional love story, with a spooky element.
I prefer love scenes to be shot up close with a lot of focus on eyes and mouths. Otherwise it can feel uncomfortable and voyeuristic.
The BBC fulfils a wonderful cultural function. Maybe the problem is that it feels it needs to be everything to everybody.
I got quite cross when I heard about Emma Thompson adapting 'Sense and Sensibility.' It was absolutely childish of me, but I thought, 'I should be doing that. They didn't even ask me.' Some mistake, surely.
I know that a ridiculous number of classic serials have been commissioned, and that reviews show a reaction against them. The critics seem fed up.
I'd love to adapt more contemporary novels. But there isn't really enough story and character to make a really satisfying serial, so they tend to be single dramas.
I remain, however, fairly optimistic for the future of period drama because it's just such a popular thing.
Most actors hate readthroughs - they're exposing themselves before they're ready to, and before they've bonded. But I love them because they give us all the first inkling of what the whole show is going to be like, how each part affects eve
A distinguished producer called Kenith Trodd actually lived in his office for over a year - the cleaners refused to go in because it was such a tip.
I'm not one of these people who say how much better American drama is than English. I find it mostly too American, except for The Sopranos, which I think is the best thing.