Actors, I don't think, ever really grow up. I'm hoping that that rejuvenating process applies to me, too. It has so far. I've been very lucky.
Curiously, they did market research on accents and found the two accents that turned most people off on English television were Birmingham and Wales.
Ellis Peters's historical detail is very accurate and very minute, and therefore is not only interesting to read but good for an actor to acquire a sense of the period. And the other thing I think is that an actor lives in the land of imagination.
Every person who is offered a knighthood has the opportunity to say yes or no. You get a letter from the Prime Minister saying you've been recommended for a knighthood and there are two little boxes, one says yes, one says no.
He was living in an age much more dangerous, more painful, much more on the edge than our own particular age.
He was somebody who made me think, I suppose, about the contemplative life. I've always been a city fellow, but I've often had vague thoughts about 'checking out' and perhaps going into a monastery and just seeing what it was like.
I am an actor and I live in the world of pretend in my working capacity. I live in the world of my imagination.
I don't think he's permanently affected me except in the sense that I miss him. I miss being him. Or trying to be him. He is one of a gallery of characters that have had an impact on my career and therefore my life.
I had to think long and hard about what it would imply, what it would mean. Would it mean any alterations of one's lifestyle? Or, more than that, the way that people regarded you? The way they reacted to you if you had a Sir in front of your name?
I hope Sir Larry be proud of what's happened. I certainly learned a huge amount from him. He was always very generous to the young actors.
I never lose that terror of 'this is my last job, I'll never work again.' You can never relax and rely on whatever reputation you've built.
I shall miss all the people in it and the great fun we had doing it. I enjoyed playing the character very much. It was a very, very special character and a very special series. And the camaraderie of it all. I loved it.
I shall miss going to Budapest to record the series. It was three months per year in that lovely city. It was wonderful.
I think actors always retain one foot in the cradle. We're switched on to our youth, to our childhood. We have to be because we're in the business of transferring emotions to other people.
I think my parents were happy that I'd gone to university and gotten a degree in history so they thought, 'Well if acting doesn't work for him, he can always become a history teacher or something.' Fortunately, the acting worked out.
I think that each character has fascinated and interested me enough to want to play him.
I thought it was getting better and better, because the production values were increasing each time we did it.
I truly don't know why it was ended, though. It was suddenly decided that that would be it. They never said particularly why, because they were cut off in their prime.
I was very lucky. I was an only child, but I was very ucky in that their response to that was 'If that's what you want to do, do it.'
I would like to be as fit as I've always been. I've been blessed with good health, I've been blessed with stamina. Particularly for those great classical roles, you need an Olympian stamina. I, fortunately, have that.
I'd gone into that restaurant and sat down and the waitress had taken my order and everybody else had seen me with this what must have looked like this creature, this animal, sitting on the top of my head!
I'm always conscious of the fact that I am part of a profession that is 80% permanently unemployed. So, to be working in any sense is to be privileged.
I've been a professional actor now for 38 years. A long time. And it's wonderful to earn your living doing something that you love. To think people actually give you money for it!
If I were to choose roles, I think anyone who has aspirations to be a classical actor as I have must go through definite hoops.
It is, to me, part of the rich world of the thespian, of which I am very pleased, proud, and happy to be a part.
It was a much darker world that they lived in, without all the comforts and the things we take so much for granted now.
It was doing very well; it was doing particularly well outside of England. It was a very big seller for Carlton Television. But it was getting more and more expensive to do.
It was never physically dangerous except when I nearly fell off a horse, but it was physically arduous - especially when you were working late at night.
It's often difficult to slough off all that we've acquired, all the comforts and safety nets modern life provides for us, and realize that in those days, people were living very much on the edge - life was incredibly hard!
It's too hard a life for me. I could only do it - check out in that sense - if I checked out somewhere that was luxurious and within hailing distance of civilization.
Knowing that we were doing good work and the stories were good. They were original and charming. They weren't particularly violent or sexy or any of that. They were just unique and that had a good feel to it.
My first course came and I put down my book, and I just happened to put up my hand to scratch my head and discovered that my toupee had been blown by the wind and was folded over backwards on the top of my head!
One of the last episodes was all about a flood. We were working in the rain till all hours, and it was muddy and it was cold and it was damp, and it was hours under the hoses. That was not pleasant. That was not pleasant.
Originally they wanted it to be bigger, but I pleaded and pleaded and pleaded to have the smallest tonsure that they could get away with. A tonsure that could still be seen, but, I worried about my social life!
Real-life people are often the hardest to play, people that you recreate who have actually lived, because you have to live up to people's knowledge of those characters.
Reputation is fine but you have to keep justifying it. In a sense, it makes it harder because people's expectations of you are higher. So, you have to fulfill those expectations. Or, try to exceed those expectations. But, it becomes more difficult as time goes on.
Sir Larry could be very strict and a disciplinarian, too. He had many faces; he wore many hats. But, ultimately, he loved the theater and he loved actors.
There's never been any game plan or thread through my career. It's just happened that I've ricocheted from one interesting character to another.
They decided also that we wouldn't use a Welsh accent because they were worried that Middle America wouldn't understand a word we were saying!
They were totally supportive, always saw everything I did. One of the thrills of my life was when they went to the theater to see something that I wasn't in. It opened doors for them that otherwise would have been totally closed.
Ultimately it's a leap of faith and a leap of imagination to put yourself back in time into those conditions and situations and see how you would react.
We started filming in 1993 which was only four years after the fall of communism. The difference in Budapest over the last five years has been remarkable.
What was so good about it was that the set that they originally built stayed there, and weathered over the five years. It got five summers and five winters of weather. It became more and more authentic as we worked in it, and they added bits to it.
You have to get through the Hamlet hoop as a young actor. Your classical qualifications are based on the quality of your Hamlet. And then, as an older actor, you have to get through the Lear hoop. And I'm approaching the Lear hoop.
You have to pretend to live in those clothes that they lived in, to live within the climate that they had then. You have to imagine with the help, obviously, of all the other technicians that are around - the writer, the director, the other actors.
In 1999, Derek was nominated for the Golden Satellite Award for Best Performance by an Actor in a Motion Picture - Drama for: Love Is the Devil: Study for a Portrait of Francis Bacon (1998).
In 2002, Derek & co. were nominated for the PFCS Award for Best Acting Ensemble for: Gosford Park (2001).
In 1989, Derek was nominated for the Golden Globe for Best Performance by an Actor in a Supporting Role in a Series, Mini-Series or Motion Picture Made for TV for: The Tenth Man (1988).
In 2002, Derek & co. won the FFCC Award for Best Ensemble Cast for: Gosford Park (2001).
In 1999, Derek won the Evening Standard British Film Award for Best Actor for: Love Is the Devil: Study for a Portrait of Francis Bacon (1998).
In 1989, Derek won the Emmy for Outstanding Supporting Actor in a Miniseries or a Special for: The Tenth Man (1988).
In 1998, Derek won the Best British Performance for: Love Is the Devil: Study for a Portrait of Francis Bacon (1998) at the Edinburgh International Film Festival.
In 2002, Derek & co. won the BFCA Award for Best Acting Ensemble for: Gosford Park (2001).
In 1978, Derek was nominated for the BAFTA TV Award for Best Actor for: Philby, Burgess and Maclean (1977).
In 1992, Derek was nominated for the BAFTA Film Award for Best Actor in a Supporting Role for: Dead Again (1991).
Derek is an Associate Member of RADA.
Derek was awarded the Laurence Olivier Theatre Award in 1984 (1983 season) for Best Actor in a Revival for Cyrano de Bergerac.
Derek was the mentor and acting instructor of Kenneth Branagh.
Derek was awarded CBE (Commander of the Most Excellent Order of the British Empire) in 1985 and knighted in 1994.
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