Julian Fellowes Poster


Jump to: Overview (2)  | Mini Bio (1)  | Spouse (1)  | Trivia (21)  | Personal Quotes (19)

Overview (2)

Born in Cairo, Egypt
Birth NameJulian Alexander Fellowes

Mini Bio (1)

Julian Fellowes was born on August 17, 1949 in Cairo, Egypt as Julian Alexander Fellowes. He is a writer and producer, known for Gosford Park (2001), Downton Abbey (2010) and From Time to Time (2009). He has been married to Emma Joy Kitchener-Fellowes since April 28, 1990. They have one child.

Spouse (1)

Emma Joy Kitchener-Fellowes (28 April 1990 - present) ( 1 child)

Trivia (21)

Based Maggie Smith's Gosford Park character on his great aunt.
Fellowes proposed to his wife Emma Joy 20 minutes after first meeting her. She is Lady-in-Waiting to HRH Princess Michael of Kent and was invested as a Lieutenant of the Royal Victorian Order (LVO) in 2000. Emma is a great-great-niece of (General) Lord Kitchener and on 9 May 2012 The Queen issued a Royal Warrant of Precedence granting The Lady Fellowes of West Stafford the same rank and title as a daughter of an Earl, as if her late father had survived his brother and therefore succeeded to the title of Earl Kitchener. She is also a vegetarian.
Father of Peregrine Kitchener-Fellowes, born 1991.
His ancestors include Sir James Fellowes, Physician to the Forces during the reign of Britain's George III, and Rear Admiral Sir Thomas Fellowes who served with Lord Nelson.
Was on University Challenge representing Magdalene College, Cambridge at age 19. He had a bad bout of flu while recording the show. With a temperature of 103 degrees, his mother insisted he still take part in the program.
In the 1970s, wrote romantic novels under the pseudonym Rebecca Greville.
Conducted a scriptwriting master class at the Cinemagic World Screen Festival for Young People in 2002 in Belfast, N.Ireland.
Is an avid follower of TV soap Coronation Street (1960).
Lives in Dorset, England, close to the cottage once owned by writer Thomas Hardy. His estate includes a manor house built in 1633 and a newer portion built in 1840, all on 50 acres.
His two dogs are named Meg and Humbug.
Uncle of Jessica Fellowes.
Youngest brother of four including David Fellowes and Rory Fellowes.
Was once a member of the Cambridge footlights comedy group. Other members through the years include Stephen Fry, Hugh Laurie, John Cleese, Tim Brooke-Taylor, Bill Oddie and Eric Idle.
He played Winston Churchill in both The Treaty (1991) and The Young Indiana Jones Chronicles (1992).
On 12 January 2011, he was made a Life Peer of the United Kingdom of Great-Britain and Northern Ireland and is now formally known as Baron Fellowes of West Stafford, of West Stafford in the County of Dorset.
In 2009 he was made Deputy Lieutenant of the County of Dorset.
On 15 October 1998 he and his wife Emma Joy Kitchener (b. 18 February 1963) legally changed their family name to Kitchener-Fellowes by Deed Poll. He continued to be known professionally as Julian Fellowes. They live at Stafford House, West Stafford, Dorset.
In 1983 Julian almost landed a plum role on the TV series Fantasy Island (1977) where he was to be a possible replacement for Hervé Villechaize's butler. If he had got the part, it would have meant an 8-year contract and, as fate would have it, Downton Abbey (2010) might never have happened.
Is a big fan of the TV series Smash (2012).
In October 2014 he was awarded an honorary doctorate by the University of Winchester in recognition of his international reputation in creative writing and the performing arts.
He trained at the Webber Douglas Academy of Dramatic Arts in London, England whose alumni include Terence Stamp, Elizabeth Knowelden, Hugh Bonneville, Rupert Friend, Antony Sher, Daniel Hunt, Matthew Goode, Sue Johnston, Minnie Driver and Julian Fellowes.

Personal Quotes (19)

Upon receiving the Best Original Screenplay Oscar in 2002: I feel as if I'm in A Star Is Born and any moment, Norman Maine will come up and whack me in the mouth.
I was rather a lazy student. My interests were drama and taking girls to parties. However, they locked the college gates at 11 o'clock, and if you were out later than that, the girls would take off their party dresses, climb over the gates and then re-assemble themselves on the other side. A rather charming sight!
What I dislike about movie culture is that it often presents a parable of our problems - but the issues are all straightforward and the people are either nice or they're not. In real life, everyone falls between those perimeters, but not many American films operate in that gray area.
When you make your first film, there is a hell of a lot to think about, and you've got to have a gut understanding of your material. It's not enough to say, 'I've met people like this.' You've got to know them inside out. So with Separate Lies I placed my characters in a class that I understand, but it doesn't mean that this is a film about class. It's about being trapped, about the consequences of our choices, and about lying.
We live in an era of tremendous dishonesty where people, even nice people, will say things they know are not true because they want to be perceived as someone who thinks they are true. But I think this is dangerous. I think personal dishonesty in a society is as dangerous as it is in an individual. For most of us the biggest journey in life, and certainly the toughest journey, is towards self-knowledge.
There are limits to what any of us can achieve in life. If I wanted to be a catwalk model, I would be in trouble. But the greatest limit of all is when we do not know ourselves and when we do not admit that truth about ourselves to ourselves, and that buggers up our life.
I have an absolutely phobic horror of controlled relationships. I despise controllers. And when I see that slightly patronizing relationship going on in front of me, as you often do in our industry, where the man who quite deliberately takes a partner who is less sophisticated, younger, from a less advantaged background or whatever, and he is becoming a kind of Higgins to her Eliza, I just want to punch him. I really hate it.
The wonderful thing about King Oscar is he makes all things possible, although a lot of the time you do keep thinking, 'Moi?'
We have this funny, ambivalent feeling about success and about achievement, so that all we usually get is some actress standing up in an evening dress and bovver boots telling you that winning doesn't matter. We can't give ourselves to these things and they're only fun if you give yourself to it. Whether you're doing a job or making love, you've got to let go of the side, and the Americans just do.
Advice from his upper-class father: If you have the misfortune to be born into a generation which must earn its living, you might as well do something amusing.
I think I'm more fearful of the future now. I always feel that there's some giant hand about to lean in and snatch it all away from me, saying, 'That wasn't meant for you.' Emma has this completely different quality of living in the present. It's just been very helpful to me to live with someone who doesn't think, Oh, my God, what if it all stops tomorrow? Of course it's absurd to live your life dreading some unspecified disaster.
[on what the potential timing might be to end the 'Downton Abbey' series] I'd prefer to do everything on my terms. The business of life is learning that you can't lay down terms. My own belief is that these things have a life. And one of the tricks is to recognize when it's time to come to an end. But we haven't made a decision when that will be. Some things go on for twenty years, don't they, but I just don't see 'Downton' as being one of them.
[on portraying the homosexuality of Thomas Barrows in 'Downton Abbey'] He was always going to be gay. I don't know about in America, but here there are so many people under forty who were hardly aware of the the fact that it was actually illegal until the 1960s. Perfectly normal men and women were risking prison by making a pass at someone. Their whole life was lived in fear, and ruin and humiliation, and career after career would be smacked down. I think it's useful to remind people that many things that they take for granted are, in terms of our history, comparatively new.
[being accused of plagiarism in Downton Abbey (2010)] Who can say what is lodged in one's brain? I am not conscious of lifting either, but it doesn't mean [the viewers] are wrong.
[on the negativity towards Downton Abbey (2010)] All we get is this permanent negative nit-picking from the left. You just want to say relax! It's a show that might not appeal to the left. I mean, why is it that it's "The Independent on Sunday" ringing me up about this? There are plenty of shows on television I don't like but I don't go on about them.
[on the detractors of Downton Abbey (2010)] The real problem is with people who are insecure socially. They think to show how smart they are by picking holes in the programme to promote their own poshness and to show that their knowledge is greater.
[on the enduring appeal of 'Romeo and Juliet'] There is something about the ultimate sacrifice to preserve your love, which is completely pure and takes over your life, that we find very appealing - perhaps because it's a sort of ideal that most of us don't live up to. There is a moment in some incredibly unhappy pursuit where most of us think, 'Oh, the he'll with it' and then we just go home. But what we love about these lovers is that they don't think that. They go all the way and in the end they would rather die than be apart. It somehow chimes with the memory of first love and early love which we've all been through. And I suppose I respond to it as much as anyone else does, really. Odd as it may seem - looking at this porky old fellow, bald and fat - once inside there was a lover.
This whole business of love ending in death - I grew up on it. I mean, you remember those songs - 'Tell Laura I Love Her' and 'Leader of the Pack, and 'Terry' - they were all ending up with the guy dying on the motorbike or being smashed in the car race or whatever. And that was really my adolescent culture. So in a way I got there before 'Twilight'.
[on simplifying Shakespeare's dialogue in Romeo and Juliet (2013)] To see the original in its absolutely unchanged form, you require a kind of Shakespearian scholarship and you need to understand the language and analyze it and so on. I can do that, because I had a very expensive education, I went to Cambridge.

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