“Caroline’s such a bitch. It was delicious playing her, although when you go in and do these small roles you’ve no idea whether you’re any good or not. I still feel that film is something I’m only dabbling in.”

(Kelly Reilly)

“The wider world is seen through tiny chinks. For instance, Caroline Bingley is reading a letter and she remarks, in the script, `Lady Bathurst is re-decorating her ballroom in the French style. A trifle unpatriotic, don’t you think?’ I put that in as a tiny acknowledgement that all these events were going on in France.”

(Deborah Moggach, Screenwriter)

What percentage of the screenplay can be attributed to her personally and what to Miss Austen?

“It’s a fairly good question. Most of it comes from Austen. I sort of put a comb to it, like running a comb through hair. Other people were involved, too. An example of that would be the line: ‘Charles, you cannot be serious!’ That sounds like McEnroe on the tennis court. It’s mostly Jane Austen, but sometimes simplified and compressed. Emma Thompson did some dialogue, and Emma’s a wonderful Jane Austen writer.”

(Deborah Moggach, Screenwriter)

  

“Pride is the closest thing I’ve done to one of my dad’s puppet shows because of the energy and the atmosphere. Whenever I cast a character, I think, `How would I make a puppet of them?´ My mum always dressed the witches in red, so you’ll notice Caroline Bingley is wearing green and red in the film, and I really like the way the Bennets live in a house surrounded by a moat. It’s like five virgins living on an island”.

(Joe Wright, Director)