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I've got to put my kids through school. And I like the security of working every day, which is what
I've got to put my kids through school. And I like the security of working every day, which is what
I've got to put my kids through school. And I like the security of working every day, which is what
I've got to put my kids through school. And I like the security of working every day, which is what
I've got to put my kids through school. And I like the security of working every day, which is what
I've got to put my kids through school. And I like the security of working every day, which is what
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Stacy Keach:
People want to typecast you; it's human nature.Stacy Keach:
My objective was to have as varied a selection of roles as possible. It probably did hurt my careerStacy Keach:
Actors make choices for different reasons.Kevin Brownlow:
My first restoration was on 'Napoleon,' trying to put the French version in with the English versioKevin Brownlow:
To me, film is a religion. I don't expect to get paid to make it, but I do expect total dedication.Kevin Brownlow:
Somebody said that part of my reaction to British cinema is actually, paradoxically, a patriotic onKevin Brownlow:
Some directors were brilliant in the silent era but never felt at home in sound. It's like a sculptKevin Brownlow:
I decided to restore 'Napoleon' after a widescreen festival at the Odeon Leicester Square in 1968.Kevin Brownlow:
'Napoleon' is pure cinema, and cinema was designed for sharing.Kevin Brownlow:
It was 1953, and I was still at school. I'd borrowed a silent French film from the library for my 9