"I hope this doesn't sound pompous but I don't think of myself as famous, whatever fame I've got has come through what I've done and associations of things I've done"
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Cushing’s modesty lands with a particular British precision: fame, in his telling, isn’t an identity you wear, it’s exhaust from the engine of work. The little preemptive wince - “I hope this doesn’t sound pompous” - is doing double duty. He’s aware that denying fame can itself sound like a humblebrag, so he disarms the listener before the sentence can be misread. It’s not coyness so much as a performer’s sensitivity to audience mood, the same instinct that made his screen presence feel controlled without being cold.
The real pivot is “associations.” Cushing isn’t claiming anonymity; he’s reframing celebrity as a network effect. People don’t “know” him, they know the characters, the films, the genres, the directors, the cultural furniture attached to his face. For an actor whose legacy is inseparable from Hammer horror and later the gravitational pull of Star Wars, that’s unusually clear-eyed. He’s describing fame as something that happens to an image, not to a self.
There’s also an older, craft-first ethic underneath it: the idea that the job is the point, and recognition is a byproduct you’re wise not to metabolize too deeply. Coming from a generation trained in repertory discipline and postwar restraint, Cushing’s line reads like a quiet refusal of celebrity as lifestyle. He makes his case without moralizing: I’m not “famous,” I’m employed - and the public is responding to the work, not to my private mythology. That boundary is the whole statement’s hidden thesis.
The real pivot is “associations.” Cushing isn’t claiming anonymity; he’s reframing celebrity as a network effect. People don’t “know” him, they know the characters, the films, the genres, the directors, the cultural furniture attached to his face. For an actor whose legacy is inseparable from Hammer horror and later the gravitational pull of Star Wars, that’s unusually clear-eyed. He’s describing fame as something that happens to an image, not to a self.
There’s also an older, craft-first ethic underneath it: the idea that the job is the point, and recognition is a byproduct you’re wise not to metabolize too deeply. Coming from a generation trained in repertory discipline and postwar restraint, Cushing’s line reads like a quiet refusal of celebrity as lifestyle. He makes his case without moralizing: I’m not “famous,” I’m employed - and the public is responding to the work, not to my private mythology. That boundary is the whole statement’s hidden thesis.
Quote Details
| Topic | Humility |
|---|---|
| Source | Help us find the source |
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