Ken Stott Quotes

'Bosch' itself - it has a huge fanbase already from the Michael Connelly books, so it was definitely intriguing because you know going in that there's all those people who will want to watch it, and I knew it was going to be a down-and-dirty, gritty, no-make-up part, so that was scary and yet so exciting.

I call it predicament humor. You don't do anything that cuts the star off at the knees or worse. You make him intelligent; you give him great ideas and great things to do.

Everything is so funny in the movie. The funniest thing about the movie is the transformations they were able to make with the characters.

British crime stories tend to be very internal, psychological, claustrophobic, very limited in terms of geography.

Completely committed to adapting 'Fifty Shades of Grey'. This is not a joke. Christian Grey and Ana: potentially great cinematic characters.

The English tradition offers the great tapestry novel, where you have the emotional aspect of a detective's personal life, the circumstances of the crime and, most important, the atmosphere of the English countryside that functions as another character.

When I did Comic Relief, I did it to be on the show; it's a badge of honor as a comedian to do that show.

I did the Kilimanjaro climb a few years ago, then the six-day trek to Machu Picchu in Peru so this bike ride to raise money for Great Ormond Street seemed like the next big challenge.

I watch 'Goodfellas,' and suddenly it frees me up entirely; it reminds me of what great film directing is all about.

I think humor is important for all of us, and a great comedian is a great treasure.

In the 1970s, there was a trend for all detectives on TV to have some quirk or gimmick, and this was often physical.

Maybe I'm a little biased, but shows like 'Dexter' and 'Southland,' I'm just enthralled by that sort of storytelling, kind of clever and patient.

I get a script and it's really interesting with scripts, because you never really know. It's paper and it could be great or awful. Even scripts that are good could end up not working.

I've done a number of things based on real people or true stories or based on books, and I'm a great believer that you have to be true to the script.

I always thought that as much as I love 'White Jazz,' it became almost unfilmable at some point, because there are so many strands, so much, and it became so psychotic... that's what made it such a great book, but those things would not carry over into the filmic realm, I thought, with ease.

Well, the medium of film is so different than a book that just by bringing it into visual storytelling is to change it up. I think in a book, in any book, you can have a reactive character. Some of the great novels of all time have had that, but in a film you can't do that.

Once, I optioned a novel and tried to do a screenplay on it, which was great fun, but I was too respectful. I was only 100 pages into the novel and I had about 90 pages of movie script going. I realized I had a lot to learn.

Scandinavian crime fiction has become a great success all across the world and rightfully so. Sjowall and Wahloo ushered in a whole generation of Swedish crime writers, many of whom are now available in English.

It's heretical, I know, but I've never really been able to get on with Agatha Christie. She is, of course, a giant of the genre, but I never feel that she cared a great deal about the characters. Consequently, neither do I.

There were many films made for both cinema and television, and in general I don't connect them very much with our books. I have one favorite: 'The Man on the Roof' by director Bo Widerberg, which was based on 'The Abominable Man.'

When I was shooting 'Mud,' every day was my favourite! I had so much fun on this film and loved working with all the cast and crew! It was a great experience.

I think we raised about 20,000 pounds. There was a live performance thing so we thought we'd donate the equipment for an online charity in Britain. I hated to part with my guitar, but it was for such a great cause.

Well, the thing about great fictional characters from literature, and the reason that they're constantly turned into characters in movies, is that they completely speak to what makes people human.

I always wanted to play Lestrade of Scotland Yard 'cause he's a buffoon that gets to wear a uniform. I thought that would be fun.

'The Wire' was a combination of great TV and great theater.