Browse content similar to Dame Diana Rigg, Actress. Check below for episodes and series from the same categories and more!
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a great British actor whose body of work represents a paradox. | :00:08. | :00:17. | |
In the public mind Diana Rigg will forever be linked | :00:18. | :00:20. | |
with performances which were almost a sideshow in her long career. | :00:21. | :00:24. | |
I'm thinking of her role in the Avengers, and as a Bond girl. | :00:25. | :00:28. | |
Both attracted huge attention, but it is in the theatre that she's | :00:29. | :00:31. | |
won critical acclaim and a host of awards. | :00:32. | :00:35. | |
Now she has an iconic role in the hit series Game of Thrones. | :00:36. | :00:39. | |
So how's it been dealing with the fickleness | :00:40. | :00:41. | |
and unpredictability of an acting life? | :00:42. | :01:16. | |
Dame Diana Rigg, welcome to HARDtalk. Thank you. Is it your | :01:17. | :01:28. | |
approach to acting today similar to the way it has always been or hasn't | :01:29. | :01:34. | |
changed radically? It sets more less the same. I asked a friend who has | :01:35. | :01:41. | |
known me for 50 years - when you are working with younger people, the | :01:42. | :01:46. | |
waves of ambition come across to you and I asked if I was ambition and he | :01:47. | :01:55. | |
said, no, you were always grateful. Having done so much over such a long | :01:56. | :02:00. | |
period, I imagining you feel much more confident about who you are and | :02:01. | :02:06. | |
where you are going and what you have achieved and if that makes a | :02:07. | :02:11. | |
difference? Yes, of course it does. I have always loved working. I do | :02:12. | :02:18. | |
not live to work. I have always had a life beside my work. A balanced | :02:19. | :02:25. | |
life because I didn't back now, at my age you tend to, and I have | :02:26. | :02:32. | |
always had a pretty full personal life as well as, thank goodness, I | :02:33. | :02:39. | |
have been so lucky with my professional life. I get the feeling | :02:40. | :02:43. | |
you love what you do. When you started you had to put bread on the | :02:44. | :02:49. | |
table but now you do it simply because you choose to and it is fun. | :02:50. | :02:55. | |
Yes, but also, I simply do not understand people who decry what | :02:56. | :03:04. | |
they do. Actors talk about were children really at heart, we are | :03:05. | :03:10. | |
half formed, living out fantasies, it is very belittling to a | :03:11. | :03:16. | |
profession which actually goes back to 640 BC... One is that actors are | :03:17. | :03:25. | |
people deeply insecure and in search of an identity so that is why they | :03:26. | :03:31. | |
are drawn to a job where they play other people... I take exception to | :03:32. | :03:36. | |
that. Not great exception. I think they are Lishman based to that. -- | :03:37. | :03:45. | |
they are full leash when they think like that. You have to have a | :03:46. | :03:50. | |
profound knowledge of the human condition and yourself recalls what | :03:51. | :03:55. | |
happens when you accept apart, you have to measure the distance between | :03:56. | :03:58. | |
yourself and that part and you have to feel it with truth. Saraceno and | :03:59. | :04:06. | |
said I look on our part to see if it is in nature and if it is on it can | :04:07. | :04:13. | |
played. So you have to turn that written page into nature. On that | :04:14. | :04:20. | |
nature, are there many paths you do not believe in them? No. LAUGHTER If | :04:21. | :04:28. | |
I do not believe in it, it is a bit of a challenge. I have to make it | :04:29. | :04:35. | |
believable. And actually, talking about belief, it is one of the most | :04:36. | :04:41. | |
moving things about again our profession being in the theatre that | :04:42. | :04:47. | |
people come to believe. They lend you their belief. They do not come | :04:48. | :04:53. | |
cynically. They want to believe and this is great, great gift that they | :04:54. | :05:00. | |
give us. You talk about the theatre and we will talk more about it but | :05:01. | :05:05. | |
starting in the here and now and we've back. Here and now too many | :05:06. | :05:11. | |
people is about the role you have found in one of the biggest TV | :05:12. | :05:18. | |
series of our age, that is Game of Thrones. It is full of young starlet | :05:19. | :05:22. | |
actors but also a wonderful part for you. How did it feel getting | :05:23. | :05:27. | |
involved in something that has become such a current cult? Was not | :05:28. | :05:33. | |
aware that I was getting involved in something so huge for top are really | :05:34. | :05:39. | |
had no idea. As ever, I was deeply grateful to get the part in such a | :05:40. | :05:46. | |
good part. I really enjoy doing it. You're part, and Lady, something of | :05:47. | :05:58. | |
a Herod? She is also pretty evil. I am good and evil. Let's see how good | :05:59. | :06:05. | |
you are. You can because you need our help. What is your name again? | :06:06. | :06:15. | |
You look like an angry little boy. Do not presume to tell me what you | :06:16. | :06:23. | |
need. Forgive me... You, shut up. Anything for you? No, good. Let the | :06:24. | :06:33. | |
grade women speak. It is a fantastic little clique because it gives a | :06:34. | :06:40. | |
real sense of your meanness. It is also down to the script writers. | :06:41. | :06:45. | |
Thank you to them for a good scene. I have interviewed a number of | :06:46. | :06:52. | |
female actors who bemoan the dearth of great parts for women as they | :06:53. | :06:58. | |
progress in their career. Have you experienced that? I have truly been | :06:59. | :07:06. | |
lucky. I really have. I think, in a sense, I have developed and become a | :07:07. | :07:12. | |
better actress as I have grown older. Do you think it is because | :07:13. | :07:20. | |
some female actors are to be key. Again, it has become something of a | :07:21. | :07:27. | |
cliche, Kristin Scott Thomas, for example, says I know all the stories | :07:28. | :07:34. | |
can be boring but it is true, it is a disaster. I think she is talking | :07:35. | :07:40. | |
about film and it is different. I cannot comment because my film | :07:41. | :07:46. | |
career is pretty much negligible. I have done the odd film but I am not | :07:47. | :07:53. | |
famous or film. There is one particular role which has gone down | :07:54. | :07:58. | |
in history because it was a Bond movie and everybody remembers that | :07:59. | :08:01. | |
but I do not want to go there just yet. In a sense, the way in which | :08:02. | :08:07. | |
Game of Thrones mirrors something you did earlier in your career, and | :08:08. | :08:14. | |
other cult TV series and that is the avengers. Different eras and styles | :08:15. | :08:19. | |
but something actually quite similar about the way both captured the | :08:20. | :08:26. | |
spirit of an age, would you agree? Yes, I think so. Emma Peel... I do | :08:27. | :08:33. | |
hate the name... That she was ahead of her time and the reason for that | :08:34. | :08:41. | |
was that originally, it was two fellows - Patrick Ni and another | :08:42. | :08:48. | |
actor whose name escapes me and he dropped out and they did not change | :08:49. | :08:53. | |
the script... It was written for a man and ended up being played by a | :08:54. | :09:03. | |
woman. Exactly. That is how it happened. You took over and you were | :09:04. | :09:12. | |
very young. You paid your dues in theatre, provincial the ETA, doing | :09:13. | :09:16. | |
Shakespeare, and you are plucked out of that and told you are going to | :09:17. | :09:21. | |
have this rather glamorous part in a new TV show. I was with the Royal | :09:22. | :09:28. | |
Shakespeare Company for five years, working my way up to play league and | :09:29. | :09:37. | |
I left -- leads, and I left because I sensed I had to broaden myself. I | :09:38. | :09:43. | |
do not just want to be a Shakespearean actress and the world | :09:44. | :09:48. | |
of television was there, sort of reckoning and I was incredibly lucky | :09:49. | :09:52. | |
to get an addition and get the part. For those on the planet who do not | :09:53. | :09:58. | |
remember the avengers and that sort of 60s style, less have a look at a | :09:59. | :10:09. | |
clip, in a very particular get up. Let's have a look. Give me the gun. | :10:10. | :10:21. | |
It is compelling stuff. I mean, I am not going to mess with you in the | :10:22. | :10:49. | |
studio. LAUGHTER. How do you feel about watching that now? If anybody | :10:50. | :10:53. | |
watches your name in the first images conjured up his off the suit. | :10:54. | :11:00. | |
Do you like that or is it frustrating? Note, again, I am very | :11:01. | :11:07. | |
grateful. The frustrating part was the suit, oh, God, it was | :11:08. | :11:14. | |
uncomfortable. It took the hours to kill it off. I am very grateful to | :11:15. | :11:23. | |
eat. -- killed it off. It projected me beyond years of work in the | :11:24. | :11:30. | |
theatre. That is frustrating in a way for somebody who loves the | :11:31. | :11:34. | |
editor so much that you can cut through and reach a massive audience | :11:35. | :11:41. | |
with only two years, as it was, in a way that years of classical theatre | :11:42. | :11:47. | |
could not do for you. Yes, and I went back, I think it was after the | :11:48. | :11:51. | |
second year, I went back to Stratford to do for the night and I | :11:52. | :11:59. | |
said I can put bums on seats and, in fact, I was doing the two together. | :12:00. | :12:03. | |
I was filming the avengers and doing 12 night. There have been different | :12:04. | :12:12. | |
analysis of white Emma Peel represented and a lot of it is seen | :12:13. | :12:16. | |
through a feminist prism. Some feminists said she was fantastic, | :12:17. | :12:23. | |
Revolution is, a strong, Independent woman, an equal partner with a man | :12:24. | :12:28. | |
but others said, how terrible that this sort of Independent woman had | :12:29. | :12:35. | |
to be put in high heels and a suit and men didn't have to go through... | :12:36. | :12:43. | |
What did they want? Hairy legs? Of course, if you are playing the lead, | :12:44. | :12:49. | |
in that sort of series, why not represent glamour as well as self | :12:50. | :12:55. | |
sufficiency? I do not see any problem with that. As a successful | :12:56. | :13:01. | |
actor in your 20s, 30s, would you said you have reminisced instincts? | :13:02. | :13:07. | |
I have always had feminist instincts were parity of... Salary is | :13:08. | :13:14. | |
concerned. I mean, I think an awful lot... It is still a huge issue | :13:15. | :13:20. | |
today. In Hollywood they write campaigns of women at us... We have | :13:21. | :13:25. | |
watched the tennis players fight their fight, actors as a constantly | :13:26. | :13:32. | |
fighting. Katharine Hepburn kicked it all off many, many years ago and | :13:33. | :13:38. | |
it is absolutely ridiculous the chasm between men and women. You | :13:39. | :13:43. | |
were discovered on the set of the avengers that male cameramen were | :13:44. | :13:49. | |
earning more than you. Yes, and when I complained, I was always dubbed | :13:50. | :13:53. | |
incredibly mercenary... your co-star. Was he paid more than | :13:54. | :14:06. | |
you? I didn't go there. It was my fight and I had to do it by myself. | :14:07. | :14:12. | |
Another thing I am interested in, looking back, the wonderful old | :14:13. | :14:17. | |
footage, we talk about game of Thrones and today's young acting | :14:18. | :14:22. | |
stars in Game of Thrones are plunged into a world of celebrity and they | :14:23. | :14:25. | |
become magazine fodder and everything else -- Game of Thrones. | :14:26. | :14:29. | |
It was a different era in the mid- late 60s when you were doing the | :14:30. | :14:34. | |
Avengers. I wonder if there was an element in that for you and how you | :14:35. | :14:38. | |
felt about the celebrity culture that may have come your way? I was | :14:39. | :14:44. | |
completely unprepared for it, completely. I think nowadays the | :14:45. | :14:48. | |
young are prepared for it because they see it all around them, they | :14:49. | :14:52. | |
read it in the magazines and everything. No, I was naive, very | :14:53. | :14:59. | |
naive. Had no idea. And the fan mail was flooding in. I didn't have a | :15:00. | :15:06. | |
secretary. It mounted up. I put it all in the back of my Mini and drove | :15:07. | :15:11. | |
around with it, feeling so guilty. Did you like it, that attention? No, | :15:12. | :15:15. | |
I felt guilty because first of all I didn't have the photographs to send | :15:16. | :15:20. | |
back, which they were all wanting. I didn't know how to set about dealing | :15:21. | :15:24. | |
with fanmail at all. It took me a good long time to work it all out. I | :15:25. | :15:28. | |
think people get help now in the sense that maybe the studios help | :15:29. | :15:31. | |
them or somebody helps them. I just have my mother. You have also said, | :15:32. | :15:37. | |
I liked this comment, you said when you are acting with the Game of | :15:38. | :15:40. | |
Thrones cast you sometimes look at them and you think, Darling hearts | :15:41. | :15:44. | |
of the young ones, darling hearts you have no idea what the rest of | :15:45. | :15:48. | |
your life is going to be like unless you put in a proper apprenticeship. | :15:49. | :15:53. | |
And if I sound like an old bag banging like this then that's what I | :15:54. | :15:57. | |
am. Yes, it's true. Do you fear that today's generation of successful | :15:58. | :16:00. | |
young actors are not really putting in the work? They are suddenly | :16:01. | :16:08. | |
catapulted into this world of series and it is one world but it isn't the | :16:09. | :16:17. | |
only world. And I think, you know... What I have always believed is that | :16:18. | :16:24. | |
the stage Kizhi longevity. I think film, the more film will spit you | :16:25. | :16:29. | |
out at a certain age of the more of television world spit you out at a | :16:30. | :16:35. | |
young age but theatre never does that and they really need to step on | :16:36. | :16:41. | |
stage and discover what their true worth is -- gives you longevity. | :16:42. | :16:47. | |
Through the audience. Yeah, fascinating. Talking of film, use a | :16:48. | :16:52. | |
film can spit you out as an actor so easily, but there are certain roles | :16:53. | :16:56. | |
that live long in the memory, and I think you can lay claim to one of | :16:57. | :17:02. | |
them with your role in one of the Bond movies, on Her Majesty's Secret | :17:03. | :17:06. | |
Service, which is remembered I suppose partly because it was the | :17:07. | :17:10. | |
only Bond role played by George Lazenby, but also because you're | :17:11. | :17:14. | |
female character, the love interest, was actually quite different from | :17:15. | :17:19. | |
most Bond girls. It was a deeper character, more human character, and | :17:20. | :17:21. | |
ended up with a marriage between your character and Bond himself. | :17:22. | :17:28. | |
Let's just see how you played the role alongside Bond. No sign of him | :17:29. | :17:38. | |
yet. Or someone saying thank you. Thank you, Tracey. You have got | :17:39. | :17:45. | |
sharp eyes and beautiful... Looks. What were you doing so nearby? An | :17:46. | :17:51. | |
interest in life. Sports? Just one winter sport. Just keep my mind on | :17:52. | :18:04. | |
your driving. LAUGHTER So, there you are, Tracey Davincenzo, I believe | :18:05. | :18:14. | |
your character was called, was it fun, because a lot of women who have | :18:15. | :18:24. | |
played "Bond Girls row -- girls" get pigeonholed? No. I can't say I did. | :18:25. | :18:31. | |
You did say afterwards it was difficult playing alongside George | :18:32. | :18:34. | |
Lazenby. George was difficult, there is no mistake about it. And as a | :18:35. | :18:41. | |
result he was not invited back. But nonetheless... You mean he wasn't up | :18:42. | :18:48. | |
to it? No, he was perfectly good, he really, really was, I think, I mean, | :18:49. | :18:51. | |
I haven't seen him for ages apart from that cut, but yes, I thought he | :18:52. | :18:57. | |
was good. But he was just so difficult off, and demanding, and | :18:58. | :19:03. | |
the producers thought, enough. Film folklore has it that because your | :19:04. | :19:07. | |
relationship was in was quite difficult, you ate garlic before the | :19:08. | :19:10. | |
intimate scenes. Yes, that was so silly. He accused me of that. Did he | :19:11. | :19:16. | |
actually accuse you of that? Yeah, he did. What happened was that I had | :19:17. | :19:20. | |
mistakenly had chicken liver pate for lunch and they put garlic in it. | :19:21. | :19:28. | |
But I didn't mean to, and I am absolutely certain that prior to the | :19:29. | :19:34. | |
snogging scene I had actually done everything that actors do, clean | :19:35. | :19:38. | |
your teeth, it chew gum and spray and all that kind of stuff. But he | :19:39. | :19:43. | |
thought, because he was paranoid by this time, he thought I had done it | :19:44. | :19:47. | |
on purpose. Which I hadn't, I wouldn't dream of doing it. Well, I | :19:48. | :19:51. | |
am so glad we have cleared that up. Well, I am too, because it has | :19:52. | :19:56. | |
lingered for 25 years. Let me talk to you about confidence and | :19:57. | :20:00. | |
security- insecurity in the acting profession. You have said over the | :20:01. | :20:03. | |
years that you look back on the roles you have played and the life | :20:04. | :20:06. | |
you lead as a younger actor and you wished you had been more confident. | :20:07. | :20:15. | |
And happier in your own skin. Yes. Actually, lack of confidence is a | :20:16. | :20:18. | |
form of self torture. It is ridiculous. And I forget who... It | :20:19. | :20:26. | |
was either Olivier or somebody said you are being selfish when you are | :20:27. | :20:32. | |
worried and worrying about yourself. You know, because acting is giving | :20:33. | :20:41. | |
out and being... Unconfident is sort of hanging yourself and a bit inward | :20:42. | :20:46. | |
looking. And I think I wasted time. Not having enough confidence. Is | :20:47. | :20:51. | |
that... Because you have a wonderful period I guess in the 1990s when you | :20:52. | :20:58. | |
won a host of awards for a series of theatre parts. That was just such a | :20:59. | :21:03. | |
wonderful time, thanks to the director, Jonathan Kent, with whom I | :21:04. | :21:09. | |
work one after the other, you know, people at IS, mother Courage, it was | :21:10. | :21:13. | |
he who put me up there and he who showed faith in me -- Mother | :21:14. | :21:18. | |
Courage. And I have nothing but gratitude for that period of my | :21:19. | :21:24. | |
life. Because it really was wonderful and I was very, very | :21:25. | :21:30. | |
lucky. Not many actresses get the opportunity to play these parts one | :21:31. | :21:35. | |
after the other. I mean, how lucky was that? Well, I don't think it is | :21:36. | :21:39. | |
like, is it, it is talent. But also a great thing you seem to have done | :21:40. | :21:43. | |
is using to have come to a clear understanding that, you know, | :21:44. | :21:46. | |
theatre has its ups and downs and you can get bad reviews and, in the | :21:47. | :21:50. | |
end, it is better to sort of shrug your shoulders or laugh at them and | :21:51. | :21:54. | |
get deeply wounded by them. Yeah, you've got to move on, just move on. | :21:55. | :22:00. | |
Have you had lousy reviews that stick in your mind? Well, the worst | :22:01. | :22:09. | |
one was one I did on Broadway Abella and Louise, and we did a mood scene, | :22:10. | :22:13. | |
Keith Michelle Anae. What, you mean full on? Full on, nothing, knickers | :22:14. | :22:20. | |
off. LAUGHTER. Deeply uncomfortable and absolutely | :22:21. | :22:26. | |
horrible and cold! And John Simon, he was small, a rather ugly | :22:27. | :22:31. | |
Hungarian gentleman who said, she is built like a brick mausoleum with | :22:32. | :22:36. | |
insufficient flying buttresses! LAUGHTER. | :22:37. | :22:39. | |
Mellow well, try and get over that. Not easy. How to play the mood scene | :22:40. | :22:45. | |
afterwards, I mean, just horrible. Well, what is beautiful is you have | :22:46. | :22:49. | |
found the humour in it and you have now turned it into a stage show. You | :22:50. | :22:53. | |
have collected all of these horrible review is not just about yourself | :22:54. | :22:59. | |
but many great actors is -- as well and you have the book, this title | :23:00. | :23:05. | |
which is one of the best ever, No Tome Unturned, and it is a thing in | :23:06. | :23:12. | |
itself, isn't it? Yes, the point about Bad Notices is you have to be | :23:13. | :23:15. | |
funny for a kickoff, and mine is, and to be able to quote is | :23:16. | :23:19. | |
cathartic, it sort of halves the pain to get a laugh at the end of | :23:20. | :23:25. | |
it. Using some actors are too about this trade or there's? Just a bit. | :23:26. | :23:28. | |
And about themselves as well. I mean, there is a lot of laughter in | :23:29. | :23:36. | |
this profession, a lot. And I think, yes, to be too serious is a grave | :23:37. | :23:43. | |
mistake. We are almost out of time, I don't think anyone around the | :23:44. | :23:45. | |
world would forgive me unless you tell me exactly happening with Game | :23:46. | :23:51. | |
of Thrones. Can't, they would fire me if they did -- I did. When you | :23:52. | :23:58. | |
film on? In a couple of months. I haven't got the script yet so I | :23:59. | :24:01. | |
don't know what's happening. Do you know if you will be killed off? I | :24:02. | :24:04. | |
don't have a clue. They have announced that they will finish it | :24:05. | :24:09. | |
next year. Right. So it obviously has, you know, it is ending. You | :24:10. | :24:13. | |
will find something else. Yeah, absolutely. Dame Diana Rigg, thank | :24:14. | :24:20. | |
you so much for being on HARDtalk thank you. Thank you. | :24:21. | :24:26. |