Harry Treadaway Quotes

I think it's amazing to have one writer write every episode of a series. It's very rare, I think. You get a voice that continues.

I look for something that grabs me and that's heartfelt, and that's coming from a good place. I want to work with good actors and with directors that I can learn from.

Tone is always such an important thing, and that's achieved through a multitude of people. It comes through the writing, it comes through the way it's shot, and it comes through the production design and the sound design.

I hope I'm always lucky enough to be able to work in theater, TV, and big films and small films. I think there's advantages and disadvantages to all of them. The fact that this was a small film without much money and without much time made it rich in energy and momentum and drive when we were actually making it 'cause that's all you've got. You've just got the story and the people.

I may live in London, but I'll go back to the country one day. My dad's an architect, so I would like him to design me a house. I'd love to be in the countryside when I'm older.

I love playing a character that has more than 90 minutes, and that keeps going.

The story revolved around this universal identifiable fear that we must all have, at some point, when you commit yourself to being with another person, to have and to hold until death do us part. It's a huge thing. I just felt like it was a brilliant examination of what would happen, if the person that you trusted implicitly and thought you knew every follicle and pour of, inside and out, started to not be that person anymore, inside. Physically, they're still there, but they're not there mentally.

You just want to find a story that grabs you and that you've never seen before, but somehow you can't imagine it not existing. It's like a good book. What makes a good book is hard to say. I don't know. I just look for something that grabs me. I don't have a way of looking for a project, and I don't know many people that do. It's just year to year, and what's going around and what's there.

I was used to getting changed in pub toilets before going on set. Then suddenly I had studios in L.A. advising me on my hair.

You know the way that children play make-believe in the garden? I did that and I thought, 'This will do for life. Why would I want to do anything else?'

'Ghosts' is the most incredible play I've read for years.

The different variables involved in anything creative, really, are massive. When it comes together, it just clicks, I suppose.

I'll always have a house in London; I'll always call it my home. There might be moments when I get to go and work in different parts of the world, but I'll always come back here.