Because my character Nina is only artistically successful when she finds perfection and pleasure for herself, not when she's trying to be perfect in the eyes of others.
I was so frightened, I was so petrified that my—I started it, but instead of starting with my first line, I started with my seventh or eighth line, and the guy who was supposed to answer me, his eyes went boing!
But the problem is now and then our brains get a bit confused and perceive relatively basic fears, like flubbing a line in the big school play, as if they're life-or-death scenarios, literally.
Triple-threat that you are, you grab your baseball bat (made from a maple tree), your clarinet (made from an African blackwood tree), and your lines for the play (printed on paper from a pine tree).
I mean I've kinda got used to that now. So now in the studio's I'll read the lines but also there'll be the guys over the other side will tell me how to do them in different ways.
There's a couple of very good lines that Maggie has to Edith when she's feeling a bit blue and she's moaning and moping a bit, and Violet says, " Don't be defeatist, dear, it's very middle class" .
And there's a great line in it where she says " Banish the black. Burn the blue, " which are two colors that women would have been seeing a lot of during the war years.
But this is no small feat, in most cases, the script writers must meticulously craft dialogue which matches up with the existing lip movements of the characters on-screen, as the animation work has already been done.