Bruce Robinson

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Bruce Robinson (born 2 May 1946) is an English director and screenwriter. He was born in Broadstairs in Kent. In his youth, Robinson dreamed of being an actor and was admitted to the Central School of Speech and Drama in London. His first film role was as Benvolio in Franco Zeffirelli's film adaptation of Romeo and Juliet (1968). He eventually became disenchanted with acting after spending several years out of work and living on social security payments and began writing screenplays and was soon commissioned by David Puttnam to write the screenplay for The Killing Fields (1984). Robinson was nominated for an Academy Award and won a BAFTA for his work. He is perhaps best known as the creative force behind the film Withnail and I. He wrote and directed the autobiographical film, which is based on his experiences as an out-of-work actor. The character of 'Withnail' is based on his friend, Vivian McKerrell, and the character of 'I' (Marwood) is based on himself. This film also launched the acting career of Richard E. Grant. Withnail and I was unsuccessful at the box office, but developed a cult following after its video release. It is now considered a modern classic. Robinson is also an author, having written a successful novel (The Peculiar Memories Of Thomas Penman) and his autobiography, Smoking In Bed: Conversations With Bruce Robinson (2000), which was edited by Alistair Owen. Robinson currently lives in London with his wife, Sophie Windham, and their two children - Lily (b. 1987) and Willoughby (b. 1994). Perhaps inspired by becoming a father, in recent years Robinson has written two children's books, The Obvious Elephant (2000, Bloomsbury) and Harold and The Duck (2005, Bloomsbury), both illustrated by his wife. The former is also available as an audiobook edition (2003, Bloomsbury) read by Lorelei King and Michael Maloney.

1 Personal quotes
2 Filmography (as actor)
3 Filmography (as writer)
4 Filmography (as director)
5 Bibliography
6 External links

[edit] Personal quotes

"For years you'd sit there waiting for the telephone to ring, and then when they'd cut off the telephone, you'd have to tramp out to the call box over the road. "I've already put two shilling pieces in." That used to go on all the time, phoning the agent. "When's he coming back from lunch? Well, would you tell him I called? Bruce Robinson. No, Bruce. B-R-U-C-E." I used to get that. I was at some crummy party somewhere, and here's my agent talking, and he says, "So, what do you do?" I said, "You're my agent!" I'll never forget him saying that."

"So we got Richard drunk, hauled him in the next morning to read through the scene, and he spewed up through the French windows. He's often told that story, but he never bothers with the rest of it, the part where I have to clear the stuff up, which was awful." (on Richard E. Grant)

"When you read a really good piece of prose you think, 'You bastard. How can you write like that?' I know bloody well that the bloke has suffered to get it like that. Same thing when you go to a specialist. 'Oh, he was marvellous. But do you know, he charged me 150 quid for twenty minutes.' Well, you’re not paying £150 for twenty minutes, you’re paying for forty years of learning how to do the twenty minutes. I think it’s exactly the same with writing. When you pay for a paperback, you’re paying for years of learning how to do it. When I work, I work incredibly hard." (on writing)