Juliet Stevenson Poster


Jump to: Overview (2) | Mini Bio (1) | Trivia (9) | Personal Quotes (12)

Overview (2)

Date of Birth 30 October 1956Essex, England, UK
Birth NameJuliet Anne Virginia Stevenson

Mini Bio (1)

Juliet Stevenson was born on October 30, 1956 in Essex, England as Juliet Anne Virginia Stevenson. She is known for her work on Bend It Like Beckham (2002), Truly Madly Deeply (1990) and Mona Lisa Smile (2003).

Trivia (9)

Listed as one of twelve "Promising New Actors in 1991" in John Willis' Screen World, Vol. 43.
She was awarded the C.B.E. (Commander of the Order of the British Empire) in the 1999 Queen's Birthday Honors List for her services to drama.
She was awarded the Laurence Olivier Theatre Award in 1992 (1991 season) for Best Actress for her performance in "Death and the Maiden".
Became a Member of the RADA Council.
Graduated from RADA.
She and her boyfriend, Hugh Brody, have two children: a daughter Rosalind Hannah Brody (b. July 1994) and a son Gabriel Jonathan Brody (b. December 2000).
Playing "Stephanie Abrahams" in Tom Kempinski's "Duet for One" at the Vaudeville Theatre, The Strand (after transferring from the Almeida Theatre in Islington), opposite Henry Goodman. [May 2009]
She was awarded the 1993 Los Angeles Drama Critics Circle Award for Distinguished Lead Performance for "Scenes from an Execution," at the Mark Taper Forum Theatre in Los Angeles, California.
She was awarded the 1993 Drama Logue Award for Outstanding Performance for "Scenes from an Execution," at the Mark Taper Forum Theatre in Los Angeles, California.

Personal Quotes (12)

I'm hardly Hollywood material - they're interested in youth and perfection and I lay no claims to either. It's not a place that's particularly interested in talent.
On playing Cleopatra at RADA: I was this skinny pale inexperienced more-or-less schoolgirl, and it must have been quite tough for this director to get a Cleopatra out of me. Which is what he said in no uncertain terms in front of all my classmates. He just tore me to shreds. And I remember thinking, 'I've got two or three options. I probably can just run out the building, go off the university and be a lawyer. Or burst into tears and get drunk and take a month to recover.'

And then suddenly I filled with rage that anybody would humiliate me like that. The only way of expressing that rage was through the language. I could feel this power coming up from somewhere I didn't know existed and coming out through everything, fingertips and brain and mouth and suddenly it was working and I remember thinking, 'Great, this is it, it's like flying!' And at the end he said, 'Thank you very much, that's more like it.'
On reading Auden aloud at school: I felt, 'I want to be the person through whom these words pass out to other people.'
I wouldn't even begin to presume that the talent of an able actor is anything like the talents of a prodigious musician. But I know what it's like to be pretty obsessed. I do understand that onstage there are times when you think, 'I could not be more alive than I am at this moment. I can't do most things in life. This is what I'm for.'
It is intensely frustrating. The longer you live, the more interesting life gets, and yet many of the parts involve carrying trays and putting lamb chops down in front of the leading man.
I'm quite scatty.
On playing Stephanie, an ex-violinist with Multiple Sclerosis in "Duet for One" in London: I go out on stage and it feels as if there isn't a single part of me that isn't used up doing what I do. I mean, head, heart, soul, fingers, sexuality, everything is employed. It isn't every day you can do plays like this.
On raising two children: I do compartmentalise, because I have to. I've spent the morning organising our days - food arrangements, childcare and stuff - and I'm normally doing that all the way into the theatre.
On growing up as the daughter of an army officer: When I'd arrive in a new country, I didn't have any friends for a while. I was quite self-sufficient. I don't know what the connection is with acting, but I can set up home very fast.
On Truly Madly Deeply (1990) written especially for her by Anthony Minghella: I don't really like watching that glamorised version of grief - a single tear rolls down a perfect cheek. My experience of loss is that you feel trashed. Loss is not a glamorous thing.
On going to Los Angeles to read for True Lies (1994): I spent a sweaty day trying to get ready for it. I got myself dolled up, got a little rented car. I was driving round some freeway, trying to find this studio lot, and I suddenly thought, 'What am I doing? I don't like this material. I don't like these kinds of films, I actively disapprove of them. It was racist. It was violent. I didn't like anything it stood for, I'm not gonna get it anyway.' So I turned the car round, went home, rang up and said, 'I'm not going.' People find it pretentious. I don't think it's pretentious. I don't want to do stuff I don't value.
On playing the fussy suburban mother in Bend It Like Beckham (2002): My only passport to cool. When I went to look at schools for my daughter, I'd walk into a classroom and it was, 'Ohmigod.' Then I realise what impact the film had. Great film. I loved it.

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