Julian Fellowes Quotes

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You see, in America, it's quite standard for an actor to sign, at the beginning of a series, for five or seven years. The maximum any British agent will allow you to have over an actor is three years.

The business of life is learning that you can't lay down the terms.

To be honest, when you're running a series and you have an open end, you don't want to limit yourself too much with the choices you've got for a particular character.

Nothing is harder to dramatize than happiness.

I love 'Sex and the City;' I think I've seen every episode.

Sometimes you watch one of your favorite shows from 20 years ago and you think, 'I'm loving this, but golly, it's going at the speed of a snail.'

The '20s are a very interesting period to me.

You do get fond of your characters. Handing them on is like giving a child to a nanny.

Well, you've got to be known for something. The danger of extreme versatility is that you don't spring to mind for anything.

I think every period - except for the 14th century, or something - has some merits.

My childhood was a happy one, spent in a tall house in South Kensington and later in East Sussex, but my early and mid teens were less successful.

I always loved movies and the cinema; we always used to go to see films as a family.

If you are lucky, you have your moment. But it is never more than a moment. You have to enjoy it while it lasts.

Most of the soap operas always use the Christmas special to kill huge quantities of their characters. So they have trams coming off their rails, or cars slamming into each other or burning buildings. It's a general clean-out.

I come from a class which used to be called the gentry - which is nowadays mistakenly used to include the nobility, but in fact is not. The gentry was essentially the untitled landowning class.

I think America has dealt with - I mean, this is simplistic, and of course I don't live in America - but the impression I get is that there is not a kind of obligation to dislike those who are better off or be frightened of those who are worse off.

What you have to understand about period drama is that it's 'history light.'

Most of us don't want to be outsiders.

For most directors, the scriptwriter is about as welcome on set as a member of the Taliban.

My parents came from different backgrounds. My father's was grander than my mother's, so my mother had... to put up with the disapproval of my father's relations.

We don't really like rules. We think, in some way, they are an infringement of liberty.

You know, I'm not a revolutionary.

I mean the truth is, I've always been interested in the whole setup of the Old World.

I think I have a very detailed sense of observation. I am interested in the details of people's lives and what information these details give.

There is almost nothing in your house that does not tell something about you.

My own belief is that most people are trying to do their best. It doesn't mean they have no nasty side, or that they don't have a bad temper, or that they have never done anything they feel ashamed of. But fiction operates on people waking up trying to be horrible, and I don't think most people are trying to be horrible.

The English country house is certainly an icon of British culture.

To me, all success is a delightful surprise, since one can absolutely never predict it.

What the Americans want to see is life in their drama. Life of all sorts: hard lives, easy lives, or lives which, like most of ours, are a mixture of the two.

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