You can't slot a time and a space and think 'ok now it's time to sit and compose.' It just doesn't work like that for me.
The kindest word to describe my performance in school was Sloth.
In the Fifties, Canvey was a top seaside place for a youngster - the famous Canvey Island Casino was full of slot machines and there were all the fairground rides, such as the dodgems, and a speedway track.
I'm a leading lady character actor; I don't fit in one slot simply. I've always been used to a certain amount of struggle, and that prepared me wonderfully for a mature age.
I have never been an easy fit. I'm a leading lady character actor; I don't fit in one slot simply.
You must avoid sloth, that wicked siren.
I've been at this for a while, and to a very real extent, you look at cover art with the same sort of expectation you have for playing slot machines in Vegas. That is to say, you hope to break even and promise yourself not to flinch when all you get is the same sort of mix of fruit that you get in a cup of generic fruit cocktail.
Script comes first, then the actors, then you gotta be lucky enough to get the right time slot. Then people have to watch.
I didn't much like Las Vegas. The noise of the place and the whole 24-hour, 'let's play the slot machines all night' culture of the place just left me cold.
Pulp existed for 12 years before we got famous. Now, you could say that was just lack of imagination, but it's some kind of quality isn't it? Tenacity. You could also say it was sloth.
