A.N. Knight Quotes

Always history is being made; opinions attitudes and institutions change, and there is evolution in the nature of capitalism

...even professors of economics, to say nothing of the public, do not generally have scientific minds.

One-third of your plays are special teams, so to block a punt and get good field position out of it and score was big.

I am whatever you make me, nothing more.

I have hardly seen my baby for six weeks; have been at the office from nine A.M. to eleven P.M. regularly.

It is work and personal worth which make a State great both politically and industrially, and in my estimation they are to be found in largest proportions in the Democratic party.

No man should have a political office because he wants a job.

I had some great mentors as I was coming up and starting to sing so early - I've been singing since I was four.

Of all types of birds, birds of prey have always fascinated people.

I don't know how to play easy.

I've always been a rough kid.

When you're a woman in your 40s, it's not the best time to do films, because there really aren't that many roles. Then you reach 50 and there are more roles again. Mother parts.

I'm writing a book and working on my one-woman show, Learning To Be Human.

This house was our dream-the gardens, the study, even the swimming pool. Even though I can't see John when I wake up in the morning, I can always feel him here with me.

There's a great difference between being popular and being an artist.

My goal was not to be famous or rich but to be good at what I did. And that required going to New York and studying and working in the theater.

I moved to LA and decided to do films and television, mainly because the theater in New York is totally dead.

It's no accident that Tony Hopkins is a wonderful film actor.

My acting career helped pull me through the rough times.

It's always good to have a world that people don't know about - a world that hasn't yet been done. It's like treading on fresh snow. You're the first one there.

No screenplay is possible, unless you get some attachment from somebody who's going to get it made.

Sometimes you take something because it's an offer and it's big and it's good money and you have to absolutely respect that process, because it's not easier.

I've realized that the only thing I'm interested in is the performance. If the performance is right, then I'm happy. You offer up the dialogue and then the performance comes around.

There's lots of different ways of writing stuff and lots of different mindsets to have, but I think when it's your own creation, it's more pleasurable because you have total control.

Sometimes if you're a director, you want to believe that you're great and capable at all aspects - the technical side, the lights, everything - but I'm not.

I always thought it would never happen. And then, it became possible. In between commissions, I wrote it as an original screenplay [Allied].

[Allied] meant to be a film that's a bit different. It's roots are in the '40s and '50s, and that sort of filmmaking style.

Whenever I see a cut of a film and something is gone, I don't notice it unless it obviously should have been kept.

I think that it's not a bad thing to not be too versed in the vocabulary of cinema, because you start to think that certain things are allowed and not allowed.

I was 21, when I heard the story that inspired this [thriller Allied], and I wasn't even a screenwriter then.

I relish the eight-hour format of a single season because it gives you time to do that.

I'm very bad at watching anything. I'm bad at going to theaters; I can't watch my own stuff; I watch a lot of sports.

East India Company weren't an evil organization that went around deliberately oppressing people, but they were driven by profit, and how familiar is that now?

I think the East India Company represents what we would think of as a very modern approach to the world where everything was counted, every penny was counted.

There was an unbelievable amount of animosity in that war [for America Independence] which people have forgotten, which was still around 50 years later.

I think it creates so many more opportunities and pitfalls in that you are treading on fresh snow, so you're in a new place.

Snoop [Dog] said [Peaky Blinders] reminded him of how he got involved with gang culture. It's always fantastically flattering when I see people dress like that and take on the look.

I'm not suggesting that ours [series] is unique in that, but they can begin to have that depth, that gravity, they can spend some time, so it's a bit more like reading a good novel, if you like.

With FX in particular, they've been fantastic and were really hands off. I mean, it helps that you've got Ridley Scott on your side.

[Taboo] has been exactly the same as working with the BBC in that creatively they do that precious thing which is to only make a comment when a comment needs to be made.

I wouldn't put myself in that bracket, but it's one of those things. I think what helps is that we [with Tom Hardey] don't socialize, we don't really know each other, we purely work together.

I don't think that jealousy and love and hate and anger and all those things have changed in the past 200 years - people just express themselves differently.

With any period piece I think the thing to do is forget that it's not contemporary when you're writing and to have the characters feel as much as possible like characters that you would know.

It's great that the story [Allied] is set in the '40s because the '40s feel to it is completely appropriate.

It felt [at the Allied set] like, "At last, I'm in Hollywood," even though I was in West London. It was like, "This is how a film should be made." It was beautiful.

There [in Allied] were things that were written that were cut, and things that were shot that were cut, but if the film works, they are erased from memory.

What I wanted to do [in Allied] was get two characters who fall in love for real, across the barricade, and then it transcends the war.

I read more and more and I came across this character, Caroline Weldon. Sometimes in history, you find these people that no one would dare create. They're too mad.

I must have been about 11 when I read the book Bury My Heart at Wounded Knee, which I read, over and over again.

[Woman Walks Ahead] is from me being a very bizarre child. From the age of about 8 to the age of about 15, I was obsessed with Native Americans.