"I don't think anyone is the perfect one to play me"
About this Quote
There is a sly professionalism in Hugh Leonard’s refusal to nominate a “perfect” actor to play him: it’s a dramatist’s way of undercutting the vanity baked into the very idea of being portrayed. Biopics and stage portraits want a neat thesis of a person - a signature gait, a charming anecdote, a defining wound. Leonard’s line treats that appetite as suspect. If anyone could be “perfect,” it would imply the self is a stable, legible character. A playwright knows better: people are revisions, contradictions, and strategic omissions.
The phrasing matters. “I don’t think” is a softener that still lands as a rebuke; it sounds polite while withholding permission. “Anyone” widens the skepticism beyond casting to the entire project of representation. He’s not just saying no to one actor; he’s saying the job itself is impossible.
Coming from a dramatist, the subtext is also craft-based. Leonard spent a career turning lived mess into staged clarity, watching how performance inevitably edits a life into something playable. He understands that an actor doesn’t reproduce a person; they propose a version. By denying the possibility of a definitive version, he keeps authorship where he likes it: with the writer, not the impersonator. It’s modesty as control, humility as a boundary line. And it’s a wry reminder that the most convincing portrait of a playwright might be the one thing casting can’t capture: the private voice arranging everyone else’s.
The phrasing matters. “I don’t think” is a softener that still lands as a rebuke; it sounds polite while withholding permission. “Anyone” widens the skepticism beyond casting to the entire project of representation. He’s not just saying no to one actor; he’s saying the job itself is impossible.
Coming from a dramatist, the subtext is also craft-based. Leonard spent a career turning lived mess into staged clarity, watching how performance inevitably edits a life into something playable. He understands that an actor doesn’t reproduce a person; they propose a version. By denying the possibility of a definitive version, he keeps authorship where he likes it: with the writer, not the impersonator. It’s modesty as control, humility as a boundary line. And it’s a wry reminder that the most convincing portrait of a playwright might be the one thing casting can’t capture: the private voice arranging everyone else’s.
Quote Details
| Topic | Movie |
|---|---|
| Source | Help us find the source |
More Quotes by Hugh
Add to List




