"I don't worry. I'm more stoical. Of course I have insecurities. I fear getting older. I fear death and illness. I'm not prone to depression, but I get depressed because everybody gets depressed. Suddenly I'm away from my family or doing a job I'm not enjoying"
About this Quote
Thewlis sells “stoical” not as a macho badge but as a working method: a practiced posture that keeps the machinery running even when the private weather is rough. The opening, “I don’t worry,” arrives with a quiet self-correction baked in. He immediately undercuts it with “Of course I have insecurities,” the phrase people use when they’re determined not to be misunderstood as invincible. It’s an actor’s calibration: control the narrative before it hardens into a myth.
What makes the passage land is the inventory of fears - aging, death, illness - followed by the almost comic leveling move: “everybody gets depressed.” That’s not a platitude so much as a refusal of specialness. In an industry that encourages performers to market their uniqueness, he frames sadness as ordinary, even logistical. Depression isn’t a dark muse; it’s what happens “suddenly” when the conditions are wrong.
The subtext is about environment and contingency. He doesn’t pathologize himself; he traces mood to circumstance: distance from family, the disorientation of travel, the deadening drag of work that doesn’t fit. It’s a quietly political stance in a celebrity culture that loves extreme confessions or inspirational branding. Thewlis offers neither. He admits fragility without turning it into a product, and he implies a practical ethic: you don’t win against mortality, you just try to live in a way that doesn’t make the shadows louder.
What makes the passage land is the inventory of fears - aging, death, illness - followed by the almost comic leveling move: “everybody gets depressed.” That’s not a platitude so much as a refusal of specialness. In an industry that encourages performers to market their uniqueness, he frames sadness as ordinary, even logistical. Depression isn’t a dark muse; it’s what happens “suddenly” when the conditions are wrong.
The subtext is about environment and contingency. He doesn’t pathologize himself; he traces mood to circumstance: distance from family, the disorientation of travel, the deadening drag of work that doesn’t fit. It’s a quietly political stance in a celebrity culture that loves extreme confessions or inspirational branding. Thewlis offers neither. He admits fragility without turning it into a product, and he implies a practical ethic: you don’t win against mortality, you just try to live in a way that doesn’t make the shadows louder.
Quote Details
| Topic | Mental Health |
|---|---|
| Source | Help us find the source |
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