Gina Bellman

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  • Born: July 10, 1966
  • Nationality: New Zealander
  • Profession: Actress

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Gina Bellman is a New Zealand-born British actress best known for her performances as Jane Christie on the BBC's hit comedy show Coupling and as grifter Sophie Devereaux on the 2008 TNT television series Leverage.

Quotes About
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Quotes
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Any friendship or relationship is about a language. Friendship
Every name in a TV show has to be run by the legal department first. Law, Courts, Jails, Crime & Law Enforcement
Every person has parallel tracks. You have your personal life or your life as an artist, or whatever it is you do. Life
Fans believe they have a relationship with you, either through your TV character or, more reasonably, through the tweets you may have exchanged. In a way, you have gotten to know them. You learn about people's kids, families, pets.
French cinema allows women to look... a certain way and be talented at the same time. Time ;Women
I am a big comedy fan, having been in 'Coupling.'
I carried on acting during school holidays and was all set to go to drama school when I was offered my first professional job appearing in 'King David' with Richard Gere.
I don't like crowds or attention.
I don't like dressing up, and I don't like putting on make-up or doing the red carpet. The only red carpet events I go to are if I'm supporting a friend.
I eat tons, three full meals a day, and I never go to the gym. When I was a child, my geography teacher said, 'You may be slim now but if you carry on eating like that, you'll end up being really fat.' Fortunately, I really don't think I've changed much in the past two decades, so that teacher was an idiot. Education, Learning, Knowledge & Training
I have always liked family-type dramas; I just think the dynamics in families make for some really interesting characters.
I love acting, and I have no desire to direct. Love, Romance, Marriage & Sex
I love those connections that make this big old world feel like a little village. Love, Romance, Marriage & Sex
I started elocution lessons because I was being teased, and I had a brilliant drama teacher. At the age of 14, I appeared at the National Theatre in 'The Crucible.' Education, Learning, Knowledge & Training
I think there was a petition online to get me involved in 'Doctor Who.' I'm not a 'Doctor Who' fanatic, but I am a Steven Moffat fanatic.
I took part in two 'Leverage' conventions. Fans fly in from as far as Russia and Australia. It's expensive to attend.
I'm not really that keen on mainstream; I'm not interested in doing the normal films. I do tend to go for the quirky, different scripts.
In England, I've never had to drive myself to work. I don't think the English producers trust actors to get up at five A.M. and get to the set on time. Time ;Trust ;Work, Workers & The Labor Force
It's always fun messing around with costumes and stuff. You know there is an element of acting that you've got to dress-up; that's part of it.
I've had my taste of intense fame, and I've got it out of my system. Now I'm free to choose parts which fulfil me in different ways.
I've never worked in my natural accent, having studied so hard to get rid of it when I moved to England as a child where I was bullied at school for 'talking funny.' Humor
I've now learned that the most stressful day of filming a TV series is the first day of a new episode. You haven't quite banked the one you just wrapped and are wondering, 'Did I do that right?' 'Could I have done that better?'
Many American TV actors employ agents, managers, business managers, publicists and stylists, and are now adding digital media manager to the list. Their job is to reach out to the fans, managing websites, Twitter feeds, Facebook and Wikipedia. Business, Commerce & Finance
My all-time favourite programme is 'Seinfeld;' I could just sit and watch that over and over again.
My average day on 'Leverage' starts at 5 A. M. and ends 12 to 14 hours later. An hour drive to the set and back sometimes makes the day unbearably long. You have to grab a few minutes to yourself where you can.
My mother always said I should have a back-up profession if the acting doesn't work out. Work, Workers & The Labor Force
Not surprisingly, there is a cultural divide between American and British actors regarding the self-promotion associated with new media.
One of the things that takes a bit of getting used to on an American series is having a different director, and often writer, every week.
One of the things you have to be acutely aware of when shooting episodes out of order is your character's relationship with the other characters.
One of the things you have to get used to, working on a TV show, is filming out of sync.
Some directors are really strong on action, manhandling you around the set; others are very focused on setting up the camera shots and practically ignore you. You have to get used to introverts, extroverts, directors who clown around for the crew, and the odd one who's monosyllabic.
Some people think it's an easy gig working as an extra, but you often have to stay very concentrated for long stretches in challenging conditions.
The only time I get recognised is when I go somewhere that is showing 'Coupling' on local television. Time
There is nothing worse than sitting in the make-up trailer knowing that the whole crew are twiddling their thumbs waiting for you to change your hair from straight to curly or up to down. Sometimes it can't be avoided.
There was a time when going out to parties and dinner parties and clubs was an exciting thing to do. I'd wake up in the morning and immediately think, 'Now what am I doing tonight?' Now I'd be more likely to reach for a book. Time ;Morning
When I get a new script, I write a record of how many costume and make-up changes I have. I cross-check them against the shooting schedule and then consult with the hair and make-up designers.
When I had the wonderful occasion to play a goofball, Jane, in 'Coupling,' it was definitely an homage to Julia Louis-Dreyfus, who I just think is a genius.
When you shoot on high-definition, everything is very sharp and clear, sometimes at the cost of losing dimension and depth of field.