Never forget how precious life is or your loved ones.
Rita Tushingham
I was only 18 when I made 'A Taste Of Honey' in the city of Salford, where writer, Shelagh Delaney set it. She was about 19 when she wrote the play based on her experiences of life and what she observed in her community.
I started in theatre, in Liverpool, which is where I'm from, and which I love as a city. I acted at the Liverpool Playhouse, and I have very fond memories of it, but although I love the theatre I'm in love with film.
My biggest fault? I guess it's a lack of patience - not when I'm working, but when I'm not working.
It's great to have a job you find rewarding, but let's face it, we're not saving people's lives. 'Oh gosh, they've got a larger Winnebago than me!' Who cares? It's what ends up on the screen that counts.
I hate publicity. The only publicity must be through my work. I can only talk about myself in relation to work. I know about work - but I don't know about me.
I don't know if I'm a gay icon or not, but with 'A Taste of Honey,' the audience were so touched by the whole story that it certainly helped matters. The characters were so sympathetic that it was as if you had met them.
I'm certainly no Cleopatra. I have legs like a schoolgirl and I don't know how I acquired the knack of attracting producers with very attractive offers for very attractive film roles.
I've been in an Agatha Christie called 'The Sittaford Mystery,' which I enjoyed, but 'The Pale Horse' has a real sense of intrigue and the jigsaw pieces fitting together.
I hate parties. I hate having to do things.
I have never been drunk in my life, and I don't expect I ever will be.
I was paralyzed with nerves on 'Taste of Honey' and never quite knew what was going on.
I grew up with two brothers with whom I played a rough game of football. If I could take that, I could take anything.
People are always asking me about the '60s, like I should be some sort of expert. It's like being in the middle of a hurricane, you can't describe it till it's over. Creativity was allowed to blossom, we were all allowed this marvelous freedom, there was money to do things.
One day, I read in the newspaper they were looking for an unknown for the film of 'A Taste of Honey.' They auditioned over 2,000 girls for the part of Jo - not as many as they did for 'Annie,' at any rate.
I hate my name. Especially In Liverpool, when they say Hey, Reet... ' it sounds even worse. I don't think of myself as Rita Tushingham, but my mother'd have a fit if I changed it.
I believe in the lessons of life. Some things are mapped out for us. By that I don't mean that you wait for things to happen, but it's interesting the way our lives are like a jigsaw where sometimes the pieces don't fit - and other times they do.
I started backstage, making the tea, looking after the actors, doing stage management for two years.
People always say, 'Oh, you've played a lot of waifs... ' but they were just girls. It's just that a lot of those everyday characters had never been on the screen before. I do hope I didn't get typed. I feel myself that I tried to do different things with those women.
I dislike snobby people, routine housework and getting up early in the morning, and central heating.
It is important to have a base in life, and from that base you can enjoy it. To me the base is family.
Your profession should give you enjoyment, but it should never be your life.
I simply don't know how to act as if I am drunk.
I like to garden, particularly mowing grass.
Believe me, I can be tough, physically and mentally.
After 'Honey' I read the rave reviews and thought I had it made. But it was two-and-a-half years before I was on the screen again.
Just as I was telling myself that I was a one-film actress, it all started to happen, both at home and in my career.
I might not be beautiful, but life certainly is.
I want to be free to do what I right for me.
I find New York very frightening, I must say.
Some people think that I must be ancient because I've been in the business for so long, others still think of me as a waif and assume that I'm too young for certain roles. Starting out at such an early age seems to have worked against me.
A family is forever. A career might finish tomorrow.
My Liverpool blood kept me grounded.
My family never allowed me to get too big for my boots.
It's all luck in this business, and it's not a kind business at times.
When I read a script I either immediately identify with the character or I don't. If I find myself reading the part in my own voice I think 'This is a bit of a drag, isn't it?' and it's no good.
I love Liverpool FC. My dad used to take me to games because he was a shareholder at Everton. When I came down to London, I realised that Liverpool FC was my team.
I don't tend to get lonely as there are so many things to do.
Woodfall wasn't deliberately telling working-class stories, but John Osborne and other writers who were involved with them were writing those stories, which had never really been written before. The working-class person always had to have an accent before, was often a joker, and peripheral. At Woodfall, they were driving the film.
No one in my family had ever been in the business.
In the 50s and early 60s, community was incredibly important to people.
In this business, you need to be in the right place at the right time, have luck and the courage to do the job.
I think a sense of humor vital to get through life: It's a great link between people and can be very effective in a getting a point across.
Directing seems like a logical progression for me, although I would never put myself in a film of mine. How can you? Putting on make-up while you're trying to concentrate on setting up the next shot? No, no.
I thought the 60s in London was normal, so when it stopped it was a shock.
