British - Actress | July 20, 1938 -
All these old images of me floating across the screen, the terrible chasm of what you were and what you are. I know who I am, but these people who see me as I was then don't.
Diana Rigg
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There is always one thing that turns you into an icon, an iconic image: in my case, a catsuit. But the icon 40 years later doesn't really want to know because it's not relevant to me.
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Some of those early photographs of me might as well be sepia. It's always thought that I disclaim television and am too theatre, but the truth is 'The Avengers' bores me now. I was grateful because it catapulted me into stage stardom. It was good. I'm not ashamed of it. But I only did it for two years.
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I step into a character in my public life. People who don't make that distinction are dooooomed.
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I regard bed as my best friend.
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Many years ago, when I was working on Broadway, I used to go to a drug rehabilitation centre on Sundays. I didn't lecture them against the perils of drug-taking; I gave them drama therapy.
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When my marriage broke up, I went to three separate therapists, and each was worse than the last. I can only speak for myself. There are other people it's been incredibly useful for, but not me.
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If a man holds a door open for me or pulls back a chair so that this old bag can sit down, I'm delighted.
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It's a question of economics. If you're paid the same as a man, which now you are in this profession, you're equal.
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I love women but am aware we're dangerous and deeply competitive, although I gave up being competitive long ago.
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You hand the baton on, and that's why roles like 'Medea' resonate for years and years, as each new actor comes to it.
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'Medea' is an enormous challenge for an actor physically, mentally, emotionally. You have to dig very, very deep, and to work, your performance has to be very personal.
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