After the creation and the filming are over. As you well know, we don't have a script when we're shooting. But after the film, the screenplay gets published and you can read the whole thing.
Agents and producers have to get you into a box to accommodate their limited imaginations.
Also, the films we make in England are not based on leading lady looks.
As Vera Drake, I feel Mike has used all of me as a dramatic actress, in a positive sense.
Because I spent a lot of time in rep being OK, being very bad, and then being quite good. And I could practice my craft.
By the time you're filming, you're very prepared and you know exactly what you're doing because you've done it all in improvisations in the rehearsals.
Even though the reviews have to give away everything, I think people are still affected when they see the film. I think they get very emotional even though they know what's going to happen.
Five performances have been applauded and celebrated by the Academy. But because TV wants a winner, there will be one.
I am a character actress, well, let's say, I am a leading character actress who does interesting, odd parts.
I can't really project what will happen. In a way, I've done the best job of my life.
I can't really project what will happen. In a way, I've done the best job of my life. It's so precious to me, this piece of work. I'm so proud of being part of all those amazing actors in that film.
I do think that I've won a nomination and that's it. And that's wonderful for me. It's pretty nice.
I don't look a certain way, the movie star way. You need to accommodate to play those Hollywood types of roles.
I go up for a job, someone else gets it, what can I do about that? It's not like running a race. I'm not against anyone. I think that's a much more American thing, that.
I go up for a job, someone else gets it, what can I do about that? That might be in another league to me, people being competitive.
I have done a lot of comedy, but my greatest love has always been drama.
I have to pay my mortgage, so I have to work. You have to get on with it.
I left Rada, I worked in rep for six years, then I came to London and came to the National Theatre.
I mean there are a lot of actresses who want to do the classics and theater, but I've always liked new writing.
I only researched Vera's character, what she would know and feel by standards of the time.
I reached the point now, where I have become as comfortable on a movie set as I am on stage.
I spent a lot of time in rep being OK, being very bad, and then being quite good. I could practice my craft.
I was looking forward to see the film with my colleagues, like Phil Davis, wonderful actor, who plays my husband. And the next day, to hear all those journalists talking enthusiastically about the film was really great.
I worked in rep for six years, then I came to London and to the National Theatre. What's better than that?
I would never cast me as this. The description of her didn't sound like me at all.
I'll be rubbish again, but that's how it goes. I've always been good at thinking, I'm not very good at this, but I'm trying my best, but don't worry about it!
I'm much more comfortable doing film now.
I've always been good at thinking, I'm not very good at this, but I'm trying my best, but don't worry about it.
I've always liked new writing.
I've always wanted a long career, not an instant one.
I've done a lot of theatre, in a theatre situation actors make suggestions about other things and it's different.
I've done a lot of theatre. In a theatre situation actors make suggestions about other things and it's different. But in film, you're very focused.
If you're at an award ceremony, you're against your mates.
In life we don't know what's going to happen in half an hour's time. Whatever happens in half an hour, we have to deal with it in that moment.
It is much easier for us in England. We have theater, TV, radio, and film, and we work in all of these mediums.
It's great for an independent film to be up there. It was a real thrill.
Just being nominated did a lot of good for the film. The Academy has done us a favor.
Keep your own counsel, get on with your own job, don't worry about anyone else, what else is going on around you, and really focus on just what you are doing.
Look at Judi Dench, who's brilliant in whatever bloody job she does.
Mike Leigh has been making films for 30 years. It's a scandal that he can't get 20 quid or whatever it was to finish the film. We're not talking millions, just money to finish the last week.
My parents were working people. You just worked.
Put the character where she needs to be and look at it objectively, and look at the work like that. Not get in any way indulgent about it.
The British press may demand loyalty, they may enjoy knocking you down, that sort of thing, but I have not experienced it.
The day the nomination comes out you've got five in this category, five actresses whose performances are being celebrated in very different films, very different budgets, very different stories.
There are a lot of actresses who want to do the classics and theater, but I've always liked new writing.
To be brilliant in your first job, where do you go from there?
To keep your own counsel, which is to get on with your own job, don't worry about anyone else, what else is going on around you, and really focus on just what you are doing.
Vera is an unusual character. She is a woman who doesn't think about herself, and genuinely - not for any personal gain - wants to help other people.
Vera is unique, truly a once of a lifetime part. This is without doubt the most emotionally satisfying role I have ever had.
We created together the character of Vera from the day she was born. The creative process was long but very fulfilling, because it involved improvisations and extensive research of the whole period.
We did come in under the wire, which is rather nice. I think it snuck up on people.
We had the '50s to research, we had the war to research. We had the way people spoke, the way people ate. It was a full-time job for 10 months.
We hear a lot about women now who work and have families, but fifty years ago, many British working class women were doing it.
We're all unique as actors. To yourself, you are unique, you have to think, I'm not going to bunch myself with other people.
Well, my parents were working people.
Well, with Mike Leigh there is no script. He never uses a script so the film was six months in preparation, which is improvising and creating these characters and huge amounts of research, and then three months filming it.
When I finished the film I then did a new play in West End and I found it very, very hard to look at these words that someone had written that I didn't know what or who that was.
With Mike Leigh there is no script, so the film was six months in preparation, which is improvising and creating these characters and huge amounts of research.
You can only do the job on the day because anything can happen.
You can only do your best. That's all you can do. And if it isn't good enough, it isn't good enough.
You create this other person, so you only talk about her objectively.
You don't take it home with you. When you're out of character, you talk about it as we're talking now.
You just go in every day and it's like a theme park, in a way, of adventure because it is different every day.
You know you can be very famous without being a great actress, and that's not good for me.
You're often living off adrenaline and you need to work that off physically.
Your character only knows what your character would know.
Her mother was a hairdresser.
She appeared in Emma Thompson’s critically panned 1988 comedy show ‘Thompson.’
In the 2005 Christmas edition of the British comedy Little Britain, Imelda appeared as caustic, no nonsense carer Mrs. Mead to Matt Lucas’ ‘paraplegic’ Andy.
In Emma Thompson’s adaptation of Jane Austin’s Sense and Sensibility, Imelda played talkative Charlotte Palmer. Her husband was played by Hugh Laurie (House). They also played husband and wife when they appeared together in Kenneth Branagh’s 'Peter’s Friends.'
Her daughter is called Bessie. She was born in 1993.
In 2005, Imelda played Mother in a BBC adaptation of conservationist Gerald Durrell’s autobiography ‘My Family And Other Animals.’
In 1991, she won a Laurence Olivier Best Actress Award for Best Actress in A Musical for her performance in ‘Into The Woods.’
She won a Best Actress award in 2005 at the Venice Film Festival for her performance as Vera Drake.
In 2005, Imelda appeared in Emma Thompson's film ‘Nanny McPhee.’ She played a disgruntled cook, Mrs. Blatherwick.
In 2004, Imelda starred in the title role of Mike Leigh’s controversial film ‘Vera Drake.’ She was nominated for a Best Actress Oscar for her performance as the 1950’s illegal abortionist.
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