1 00:00:01,120 --> 00:00:05,000 The following programme contains strong language. 2 00:00:10,000 --> 00:00:12,640 (BIRDSONG) 3 00:00:13,920 --> 00:00:15,720 DENCH: Did you say action? WOMAN: Yeah. 4 00:00:15,760 --> 00:00:16,000 Oh, right. (CHUCKLES) MAN: Action. 5 00:00:16,000 --> 00:00:17,840 Oh, right. (CHUCKLES) MAN: Action. 6 00:00:17,880 --> 00:00:22,000 Now here is a picture of Ken, 7 00:00:22,040 --> 00:00:24,000 as you can see, 8 00:00:24,000 --> 00:00:24,640 as you can see, 9 00:00:24,680 --> 00:00:28,640 that was painted by Alex Newley that I bought, ooh, 10 00:00:28,680 --> 00:00:31,120 quite a while ago. 11 00:00:31,160 --> 00:00:32,000 I don't know that he knows I've got it, but I'm very pleased I have. 12 00:00:32,000 --> 00:00:35,120 I don't know that he knows I've got it, but I'm very pleased I have. 13 00:00:36,520 --> 00:00:38,960 I'm still going to hide it from him... 14 00:00:39,000 --> 00:00:40,000 (PLAYFUL STRING MUSIC) 15 00:00:40,000 --> 00:00:41,080 (PLAYFUL STRING MUSIC) 16 00:00:45,360 --> 00:00:46,720 Shall I put it...? 17 00:00:47,680 --> 00:00:48,000 Supposing I put it there. There we are. 18 00:00:48,000 --> 00:00:51,880 Supposing I put it there. There we are. 19 00:00:57,400 --> 00:00:59,280 There's a surprise for later. 20 00:01:00,800 --> 00:01:02,000 Where is she? 21 00:01:02,040 --> 00:01:04,000 'Ken Branagh and I have known each other for over 40 years.' 22 00:01:04,000 --> 00:01:05,720 'Ken Branagh and I have known each other for over 40 years.' 23 00:01:05,760 --> 00:01:07,440 Judi, you've worked with Ken, is it... 24 00:01:07,480 --> 00:01:10,880 Oh, so many times. It's not worth going into. 25 00:01:10,920 --> 00:01:12,000 (LAUGHTER) 26 00:01:12,000 --> 00:01:12,480 (LAUGHTER) 27 00:01:12,520 --> 00:01:16,280 'In that time I've played his dutiful wife, 28 00:01:16,320 --> 00:01:18,280 his doting mother...' 29 00:01:18,320 --> 00:01:20,000 You shouldn't have stayed down there so long, my poor boy. 30 00:01:20,000 --> 00:01:21,240 You shouldn't have stayed down there so long, my poor boy. 31 00:01:21,280 --> 00:01:23,680 '..and even his soft-hearted grandmother.' 32 00:01:23,720 --> 00:01:25,160 Get yourself a wee sweety. 33 00:01:25,200 --> 00:01:27,680 (CHUCKLES) Thanks, granny. 34 00:01:27,720 --> 00:01:28,000 'Between us, we've spent over a century in this business.' 35 00:01:28,000 --> 00:01:31,680 'Between us, we've spent over a century in this business.' 36 00:01:31,720 --> 00:01:33,720 Sweetie, I've only just started! 37 00:01:33,760 --> 00:01:36,000 I'll tell you something, Fletcher, 38 00:01:36,000 --> 00:01:36,160 I'll tell you something, Fletcher, 39 00:01:36,200 --> 00:01:39,360 if you ever do anything like that to my sister, I'll kill you. 40 00:01:40,600 --> 00:01:43,800 'And today, I'm delighted to welcome him to tea 41 00:01:43,840 --> 00:01:44,000 and a friendly chat about all the times we've shared.' 42 00:01:44,000 --> 00:01:46,960 and a friendly chat about all the times we've shared.' 43 00:01:47,000 --> 00:01:49,400 I remember coming to give you notes somewhere. 44 00:01:49,440 --> 00:01:52,000 Yes, you said, "Kenny. Kenny! Kenny! Stand up. 45 00:01:52,000 --> 00:01:52,200 Yes, you said, "Kenny. Kenny! Kenny! Stand up. 46 00:01:52,240 --> 00:01:55,480 You've gone very, very West End. 47 00:01:55,520 --> 00:01:58,640 It's all out front. Laugh, laugh, laugh, laugh, laugh." 48 00:01:59,800 --> 00:02:00,000 In The Merchant of Venice I said to him, 49 00:02:00,000 --> 00:02:02,080 In The Merchant of Venice I said to him, 50 00:02:02,120 --> 00:02:06,040 "But tis to peise the time, to eke it and to draw it out in length. 51 00:02:06,080 --> 00:02:08,000 To stay you from erection." (LAUGHS) 52 00:02:08,000 --> 00:02:08,120 To stay you from erection." (LAUGHS) 53 00:02:08,160 --> 00:02:11,160 'Election...' As you know, it's 'election'. 54 00:02:11,200 --> 00:02:15,040 What is it about Shakespeare that means that we continue... 55 00:02:15,080 --> 00:02:16,000 (DULL THUDDING) ..to want to tell stories? There you go. 56 00:02:16,000 --> 00:02:17,520 (DULL THUDDING) ..to want to tell stories? There you go. 57 00:02:17,560 --> 00:02:19,880 Beating of your heart. 58 00:02:29,360 --> 00:02:31,800 Ohh, dear. Hello. 59 00:02:31,840 --> 00:02:32,000 Well, about bloody time. (BOTH LAUGH) 60 00:02:32,000 --> 00:02:34,960 Well, about bloody time. (BOTH LAUGH) 61 00:02:35,000 --> 00:02:37,800 (YORKSHIRE ACCENT) Your father and I have been worried stiff about you. 62 00:02:37,840 --> 00:02:39,720 I'm looking for Judi Dench. 63 00:02:39,760 --> 00:02:40,000 International star of stage and screen. (CHUCKLES) 64 00:02:40,000 --> 00:02:43,360 International star of stage and screen. (CHUCKLES) 65 00:02:43,400 --> 00:02:44,640 Where have you been? 66 00:02:44,680 --> 00:02:47,640 I've been gathering flowers for you. Gathering flowers. 67 00:02:47,680 --> 00:02:48,000 I wish they smelt a bit more, but they look as nice, 68 00:02:48,000 --> 00:02:49,760 I wish they smelt a bit more, but they look as nice, 69 00:02:49,800 --> 00:02:51,520 but not as nice as you. Not necessary. 70 00:02:51,560 --> 00:02:54,160 Well, not necessary, but, but I wanted you to have them. 71 00:02:54,200 --> 00:02:55,720 Come in. 007? 72 00:02:55,760 --> 00:02:56,000 Yes. I've been expecting you, Mr. Bond. 73 00:02:56,000 --> 00:02:58,440 Yes. I've been expecting you, Mr. Bond. 74 00:02:58,480 --> 00:03:01,200 That's a very nice entrance if you happen to have played James Bond. 75 00:03:01,240 --> 00:03:02,800 Now, please, Kenny, watch. Yes. 76 00:03:02,840 --> 00:03:04,000 You have to contend, I'm afraid, with the parrot. 77 00:03:04,000 --> 00:03:05,720 You have to contend, I'm afraid, with the parrot. 78 00:03:05,760 --> 00:03:08,880 Oh, the parrot. Oh, my God, it's the... Is it a talking parrot? 79 00:03:08,920 --> 00:03:11,640 Yes... (PARROT CHIRPS) 80 00:03:11,680 --> 00:03:12,000 Darling, you're very good. (WHISTLES SWEETLY) 81 00:03:12,000 --> 00:03:14,400 Darling, you're very good. (WHISTLES SWEETLY) 82 00:03:14,440 --> 00:03:17,080 You are such a good bird... 83 00:03:17,120 --> 00:03:20,000 (GRUFF, COCKNEY ACCENT) ..Sweetheart. That's her name. (CHUCKLES) 84 00:03:20,000 --> 00:03:20,080 (GRUFF, COCKNEY ACCENT) ..Sweetheart. That's her name. (CHUCKLES) 85 00:03:20,120 --> 00:03:22,840 When sweetheart is in full voice, what are the kind of things 86 00:03:22,880 --> 00:03:25,560 she tends to say? She says, um... 87 00:03:25,600 --> 00:03:28,000 (GRUFF, COCKNEY ACCENT) ..you're a slag.(LAUGHS) 88 00:03:28,000 --> 00:03:28,440 (GRUFF, COCKNEY ACCENT) ..you're a slag.(LAUGHS) 89 00:03:29,800 --> 00:03:32,040 (WHISTLES IN FALSETTO) 90 00:03:34,160 --> 00:03:36,000 Gosh, what's coming out of this bag? 91 00:03:36,000 --> 00:03:36,080 Gosh, what's coming out of this bag? 92 00:03:36,120 --> 00:03:37,720 What's coming out of this bag? 93 00:03:37,760 --> 00:03:40,680 If you knew the answer to that... Have a feel of those. 94 00:03:40,720 --> 00:03:43,200 Just those, not me. What... (CHUCKLES) 95 00:03:43,240 --> 00:03:44,000 OK. Oh, hello. Potato cakes? 96 00:03:44,000 --> 00:03:45,560 OK. Oh, hello. Potato cakes? 97 00:03:45,600 --> 00:03:48,760 Well, we call them potato farls, you call it potato cakes. 98 00:03:50,040 --> 00:03:52,000 Or, as we would say, in the accent of my homeland, 99 00:03:52,000 --> 00:03:53,520 Or, as we would say, in the accent of my homeland, 100 00:03:53,560 --> 00:03:56,840 tattie farl.Tattie farl. (CHUCKLES)Tattie farl. 101 00:03:56,880 --> 00:03:59,520 (ECHOING VOCALS) 102 00:04:01,440 --> 00:04:03,880 Do you want me to put some butter on that for you, or would you like 103 00:04:03,920 --> 00:04:05,720 to help yourself? I'm going to... 104 00:04:05,760 --> 00:04:07,760 You're just gonna... It's my butter, isn't it? 105 00:04:07,800 --> 00:04:08,000 It's your butter. It's your house. So you can be as filthy as you like. 106 00:04:08,000 --> 00:04:11,160 It's your butter. It's your house. So you can be as filthy as you like. 107 00:04:11,200 --> 00:04:15,840 (BOTH LAUGH) Do you remember when we first met? 108 00:04:15,880 --> 00:04:16,000 Was it on Ghosts? It was on television for the BBC. 109 00:04:16,000 --> 00:04:18,800 Was it on Ghosts? It was on television for the BBC. 110 00:04:20,200 --> 00:04:24,000 If you have a mother's love for me... 111 00:04:24,000 --> 00:04:24,320 If you have a mother's love for me... 112 00:04:24,360 --> 00:04:27,160 how can you see me suffer like this? 113 00:04:28,200 --> 00:04:32,000 I have a very, very clear image of you coming through the doors 114 00:04:32,000 --> 00:04:32,360 I have a very, very clear image of you coming through the doors 115 00:04:32,400 --> 00:04:34,480 at the North Acton Rehearsal Studios. 116 00:04:34,520 --> 00:04:36,240 Looking very chic. Very chic. 117 00:04:36,280 --> 00:04:38,840 I remember a bit of a suede... suede skirt. 118 00:04:38,880 --> 00:04:40,000 Quite long, sort of, boots. A bit foxy, as I recall. 119 00:04:40,000 --> 00:04:41,920 Quite long, sort of, boots. A bit foxy, as I recall. 120 00:04:43,520 --> 00:04:46,040 You can tell how long ago. (CHUCKLES) 121 00:04:46,080 --> 00:04:47,640 This is before... 122 00:04:47,680 --> 00:04:48,000 This is before, of course, we had the difficulty of working 123 00:04:48,000 --> 00:04:51,080 This is before, of course, we had the difficulty of working 124 00:04:51,120 --> 00:04:54,000 with the late, great, wonderful Michael Gambon. 125 00:04:54,040 --> 00:04:56,000 Anyway, welcome. Welcome, my dear Oswald. 126 00:04:56,000 --> 00:04:56,960 Anyway, welcome. Welcome, my dear Oswald. 127 00:04:57,000 --> 00:04:59,480 I trust you'll allow me to call you by your Christian name. 128 00:04:59,520 --> 00:05:00,640 What else? 129 00:05:00,680 --> 00:05:04,000 Yes, Gambon notorious for making you laugh at the wrong time. 130 00:05:04,000 --> 00:05:04,400 Yes, Gambon notorious for making you laugh at the wrong time. 131 00:05:04,440 --> 00:05:06,200 He was an absolute bloody nightmare. 132 00:05:06,240 --> 00:05:07,920 And the late, great Natasha Richardson. 133 00:05:07,960 --> 00:05:10,600 Well, madam, if you will allow me, I think I'd better leave at once. 134 00:05:10,640 --> 00:05:12,000 Elijah Moshinsky said... Lovely director, he said... 135 00:05:12,000 --> 00:05:14,400 Elijah Moshinsky said... Lovely director, he said... 136 00:05:14,440 --> 00:05:19,680 I want a very, very, very tense shot of all of you. 137 00:05:19,720 --> 00:05:20,000 Very tense.All round the table. 138 00:05:20,000 --> 00:05:21,720 Very tense.All round the table. 139 00:05:22,760 --> 00:05:24,760 (TENSE MUSIC) 140 00:05:30,760 --> 00:05:33,600 All round there with the... with the plates. 141 00:05:33,640 --> 00:05:35,760 And a... And Natasha. 142 00:05:35,800 --> 00:05:36,000 Very sombre Natasha coming round. I'm here. You're there. 143 00:05:36,000 --> 00:05:39,240 Very sombre Natasha coming round. I'm here. You're there. 144 00:05:39,280 --> 00:05:40,960 Gambon's over there. 145 00:05:42,800 --> 00:05:44,000 (CHUCKLES) And then Natasha comes round. 146 00:05:44,000 --> 00:05:45,840 (CHUCKLES) And then Natasha comes round. 147 00:05:45,880 --> 00:05:49,040 She just goes... (WHISPERS) "..Would you like some potatoes?" 148 00:05:49,080 --> 00:05:52,000 And Michael Gambon said, "Just the usual eight." 149 00:05:52,000 --> 00:05:52,400 And Michael Gambon said, "Just the usual eight." 150 00:05:52,440 --> 00:05:57,000 (CHUCKLES) I heard ten, I heard, "I'll just have ten." 151 00:05:57,040 --> 00:06:00,000 And then of course, Natasha went like that, 152 00:06:00,000 --> 00:06:00,280 And then of course, Natasha went like that, 153 00:06:00,320 --> 00:06:02,880 and then she spilt potatoes onto my plate. 154 00:06:02,920 --> 00:06:04,840 And then, of course, it was no good. 155 00:06:04,880 --> 00:06:07,800 So then I thought that I was converting this into acting. 156 00:06:07,840 --> 00:06:08,000 So I went down into myself, if you will. 157 00:06:08,000 --> 00:06:10,320 So I went down into myself, if you will. 158 00:06:10,360 --> 00:06:15,360 But in fact, that was just... Because the camera kept passing. 159 00:06:15,400 --> 00:06:16,000 Then we heard a voice, didn't we? Saying, "Mr. Branagh, 160 00:06:16,000 --> 00:06:19,640 Then we heard a voice, didn't we? Saying, "Mr. Branagh, 161 00:06:19,680 --> 00:06:21,960 Miss Dench, you may leave the studio." 162 00:06:22,000 --> 00:06:24,000 Yes. And don't come back. We were... And we were sent away. 163 00:06:24,000 --> 00:06:24,960 Yes. And don't come back. We were... And we were sent away. 164 00:06:25,000 --> 00:06:27,120 We were sent away. Didn't work for the rest of the day. 165 00:06:27,160 --> 00:06:31,240 Very, very disappointing, we were. We hadn't just let the play down. 166 00:06:31,280 --> 00:06:32,000 We'd let the whole school down. We had. 167 00:06:32,000 --> 00:06:33,040 We'd let the whole school down. We had. 168 00:06:33,080 --> 00:06:36,520 Did it ever appear, Ghosts? It did. It did. 169 00:06:36,560 --> 00:06:38,040 Did it? It did. Yeah, it did. 170 00:06:38,080 --> 00:06:40,000 I shall be patient and undemanding. And cheerful, mother! 171 00:06:40,000 --> 00:06:41,520 I shall be patient and undemanding. And cheerful, mother! 172 00:06:41,560 --> 00:06:43,840 Yes, my boy. I think the audience was 173 00:06:43,880 --> 00:06:48,000 as miserable as we were. What, uh...What was your first job? 174 00:06:48,000 --> 00:06:49,120 as miserable as we were. What, uh...What was your first job? 175 00:06:49,160 --> 00:06:50,680 First ever? Yeah. 176 00:06:50,720 --> 00:06:53,240 Ophelia at the Old Vic 177 00:06:53,280 --> 00:06:56,000 in 1957, opposite John Neville. 178 00:06:56,000 --> 00:06:57,000 in 1957, opposite John Neville. 179 00:06:57,040 --> 00:07:01,920 It must have been a big deal to get that job back then, wasn't it? 180 00:07:01,960 --> 00:07:04,000 Pfft. Well, can you imagine what kind of... 181 00:07:04,000 --> 00:07:05,920 Pfft. Well, can you imagine what kind of... 182 00:07:07,640 --> 00:07:10,080 You know, I was in a kind of haze. 183 00:07:10,120 --> 00:07:12,000 We opened at the Liverpool Playhouse. 184 00:07:12,000 --> 00:07:12,120 We opened at the Liverpool Playhouse. 185 00:07:12,160 --> 00:07:14,760 Playhouse? Liverpool Playhouse for one week. 186 00:07:14,800 --> 00:07:16,840 Well, it didn't go well. 187 00:07:16,880 --> 00:07:20,000 I mean, they didn't like somebody completely unknown playing the part. 188 00:07:20,000 --> 00:07:21,160 I mean, they didn't like somebody completely unknown playing the part. 189 00:07:21,200 --> 00:07:22,880 What a baptism of fire for you. 190 00:07:22,920 --> 00:07:24,320 What did that make you feel about? 191 00:07:24,360 --> 00:07:27,120 Did you read those rotten notices, or did you ignore them? 192 00:07:27,160 --> 00:07:28,000 Or you heard about them? What was, what did what was that like? 193 00:07:28,000 --> 00:07:29,680 Or you heard about them? What was, what did what was that like? 194 00:07:29,720 --> 00:07:32,280 I don't think I read them. Yeah, but you were aware that it was... 195 00:07:32,320 --> 00:07:34,520 It hadn't perhaps gone as. A bit do...bit dodgy. 196 00:07:34,560 --> 00:07:36,000 Bit dodgy? Yes. 197 00:07:36,000 --> 00:07:36,040 Bit dodgy? Yes. 198 00:07:36,080 --> 00:07:40,000 But then Michael Benthall said to me, 199 00:07:40,040 --> 00:07:43,560 pulled me into his office and he said, "Don't be made sad 200 00:07:43,600 --> 00:07:44,000 or depressed by this", because 201 00:07:44,000 --> 00:07:45,080 or depressed by this", because 202 00:07:45,120 --> 00:07:47,520 he said, "I'm going to keep you on in the company." 203 00:07:47,560 --> 00:07:50,560 And he said, "You're going to play lots of other small parts 204 00:07:50,600 --> 00:07:52,000 and watch the other actors." 205 00:07:52,000 --> 00:07:52,800 and watch the other actors." 206 00:07:52,840 --> 00:07:54,480 And that's what I did. Well, good on him. 207 00:07:54,520 --> 00:07:56,320 What about you and critics, though? 208 00:07:56,360 --> 00:07:58,960 Uh, well, you know, once had some, some... 209 00:07:59,000 --> 00:08:00,000 Well, I suppose if you do it for long enough, you have a whole 210 00:08:00,000 --> 00:08:01,920 Well, I suppose if you do it for long enough, you have a whole 211 00:08:01,960 --> 00:08:04,120 range of them, don't you? In Henry the Fifth, 212 00:08:04,160 --> 00:08:07,240 one of my brilliant touches, of course, was that I would, uh... 213 00:08:07,280 --> 00:08:08,000 produce an accent, uh, to disguise myself as the king...Yes. 214 00:08:08,000 --> 00:08:10,960 produce an accent, uh, to disguise myself as the king...Yes. 215 00:08:11,000 --> 00:08:14,240 ..as I go amongst my men in disguise the night before the battle. 216 00:08:14,280 --> 00:08:15,760 A little touch of Harry in the night. 217 00:08:15,800 --> 00:08:16,000 And I thought so I shall do my brilliant Welsh accent, 218 00:08:16,000 --> 00:08:18,000 And I thought so I shall do my brilliant Welsh accent, 219 00:08:18,040 --> 00:08:20,880 because he's Prince of Wales. Of course, that's going to work very well. 220 00:08:20,920 --> 00:08:23,560 And I remember that getting a review in the days when I read them, 221 00:08:23,600 --> 00:08:24,000 saying Mr. Branagh, 222 00:08:24,000 --> 00:08:27,360 saying Mr. Branagh, 223 00:08:27,400 --> 00:08:31,760 who is vocally inadequate in the role, lacking in magnitude. 224 00:08:31,800 --> 00:08:32,000 However, in the nighttime scene, 225 00:08:32,000 --> 00:08:34,040 However, in the nighttime scene, 226 00:08:34,080 --> 00:08:35,720 where I'd done my amazing Welsh accent, 227 00:08:35,760 --> 00:08:39,840 however, in the nighttime scene, he is effortlessly a Geordie. 228 00:08:40,920 --> 00:08:43,240 Thank you very much. And you can shove your accent... 229 00:08:43,280 --> 00:08:45,760 And I bet you know who that was. ..where the sun doesn't shine. 230 00:08:45,800 --> 00:08:48,000 I'm not...I-I couldn't possibly say, but obviously I question, 231 00:08:48,000 --> 00:08:49,960 I'm not...I-I couldn't possibly say, but obviously I question, 232 00:08:50,000 --> 00:08:52,600 I question their judgement, Judi. (CHUCKLES) 233 00:08:52,640 --> 00:08:56,000 And but it is true to say I think I travelled from Milford Haven 234 00:08:56,000 --> 00:08:56,040 And but it is true to say I think I travelled from Milford Haven 235 00:08:56,080 --> 00:09:00,480 and Pontypool via Gateshead, 236 00:09:00,520 --> 00:09:03,720 back to, back to Northern Ireland. 237 00:09:08,520 --> 00:09:11,680 'Before we became hardened to the slings and arrows 238 00:09:11,720 --> 00:09:12,000 of outrageous reviews, 239 00:09:12,000 --> 00:09:13,840 of outrageous reviews, 240 00:09:13,880 --> 00:09:17,120 like many, Kenny and I both started our acting careers 241 00:09:17,160 --> 00:09:19,200 by going to drama school.' 242 00:09:20,400 --> 00:09:22,800 Do you remember what it was like leaving home, the moment when 243 00:09:22,840 --> 00:09:24,960 you were gone from York, and now you were in London? 244 00:09:25,000 --> 00:09:28,000 Did you ever look back or look sideways, or did you...? 245 00:09:28,040 --> 00:09:29,960 I think I must have done. Mm-hm. 246 00:09:30,000 --> 00:09:33,520 All those days are kind of... 247 00:09:33,560 --> 00:09:36,000 merged together in a way. Three years of it. 248 00:09:36,000 --> 00:09:36,360 merged together in a way. Three years of it. 249 00:09:36,400 --> 00:09:40,040 Mm-hm. For me, it was the Friday I went to RADA for the sort of 250 00:09:40,080 --> 00:09:42,600 induction afternoon, and then I came... 251 00:09:42,640 --> 00:09:44,000 Were you living in Belfast? No, I was over from Belfast. 252 00:09:44,000 --> 00:09:45,040 Were you living in Belfast? No, I was over from Belfast. 253 00:09:45,080 --> 00:09:46,800 I was in Reading and I went home. 254 00:09:46,840 --> 00:09:50,360 And, you know, we all variously didn't know really how to cope 255 00:09:50,400 --> 00:09:52,000 with this thing that suddenly graphically became, 256 00:09:52,000 --> 00:09:52,560 with this thing that suddenly graphically became, 257 00:09:52,600 --> 00:09:54,240 this is the moment you're leaving home 258 00:09:54,280 --> 00:09:56,320 to go out into the big wide world, 259 00:09:56,360 --> 00:09:58,000 which was, for them, terrifying, acting. 260 00:09:58,040 --> 00:10:00,000 They didn't know anything about the acting business or anything. 261 00:10:00,000 --> 00:10:00,920 They didn't know anything about the acting business or anything. 262 00:10:00,960 --> 00:10:04,920 It just was just a world where I would return to them as 263 00:10:04,960 --> 00:10:08,000 a homosexual who was out of work, and this would be perfectly fine 264 00:10:08,000 --> 00:10:09,000 a homosexual who was out of work, and this would be perfectly fine 265 00:10:09,040 --> 00:10:12,400 but it would not be something that they could help me with, you know. 266 00:10:12,440 --> 00:10:13,960 But it seemed guaranteed. 267 00:10:14,000 --> 00:10:16,000 Um, and so they didn't say much, but I remember I'd come back. 268 00:10:16,000 --> 00:10:17,600 Um, and so they didn't say much, but I remember I'd come back. 269 00:10:17,640 --> 00:10:19,840 So we had the afternoon. We said, this is what you'll do. 270 00:10:19,880 --> 00:10:23,720 You need these tights. We'd turn up on Monday. So I knew I was leaving the next day to go. 271 00:10:23,760 --> 00:10:24,000 And there was this little envelope which I remember which had, 272 00:10:24,000 --> 00:10:29,040 And there was this little envelope which I remember which had, 273 00:10:29,080 --> 00:10:32,000 it was on the telephone table... 274 00:10:32,000 --> 00:10:32,040 it was on the telephone table... 275 00:10:32,080 --> 00:10:35,520 and, um, I... They didn't say anything about it, 276 00:10:35,560 --> 00:10:38,280 but it was a it was a card 277 00:10:38,320 --> 00:10:40,000 which said, um, just simply, 278 00:10:40,000 --> 00:10:41,000 which said, um, just simply, 279 00:10:41,040 --> 00:10:43,520 and it was one of those ones like totally embossed 280 00:10:43,560 --> 00:10:45,120 sort of Woolworths card. 281 00:10:45,160 --> 00:10:48,000 So it was like a bloody duvet on a bed. 282 00:10:48,000 --> 00:10:50,160 So it was like a bloody duvet on a bed. 283 00:10:50,200 --> 00:10:53,920 And it just inside it just said, "We're very proud of you. 284 00:10:53,960 --> 00:10:56,000 Love Mum and Dad." There was £100 in it, 285 00:10:56,000 --> 00:10:56,640 Love Mum and Dad." There was £100 in it, 286 00:10:56,680 --> 00:10:58,840 £100 for them, that was a lot. That's a lot. 287 00:10:58,880 --> 00:11:01,560 1979. That was a lot of money. 288 00:11:01,600 --> 00:11:03,520 So you knew that that was huge. 289 00:11:03,560 --> 00:11:04,000 And then I just remember also, uh, I got driven down to the station 290 00:11:04,000 --> 00:11:08,360 And then I just remember also, uh, I got driven down to the station 291 00:11:08,400 --> 00:11:12,000 and I just remember that moment of them waving and waving on the step, 292 00:11:12,000 --> 00:11:13,760 and I just remember that moment of them waving and waving on the step, 293 00:11:13,800 --> 00:11:16,640 because the way the house was, you could see them for a long time. 294 00:11:16,680 --> 00:11:20,000 And they never, never, never stopped waving. 295 00:11:20,000 --> 00:11:20,120 And they never, never, never stopped waving. 296 00:11:22,240 --> 00:11:24,240 Oh, it's a lovely memory. 297 00:11:27,120 --> 00:11:28,000 'After RADA, it wasn't long before Ken was taking on 298 00:11:28,000 --> 00:11:30,520 'After RADA, it wasn't long before Ken was taking on 299 00:11:30,560 --> 00:11:33,520 major Shakespearean roles.' 300 00:11:33,560 --> 00:11:36,000 "We fat all creatures to fat us, and we fat ourselves for maggots. 301 00:11:36,000 --> 00:11:37,200 "We fat all creatures to fat us, and we fat ourselves for maggots. 302 00:11:37,240 --> 00:11:41,080 "Your fat king and your lean beggar is but variable service." 303 00:11:41,120 --> 00:11:44,000 'Then, as leading actor and director, he switched to the screen, 304 00:11:44,000 --> 00:11:45,400 'Then, as leading actor and director, he switched to the screen, 305 00:11:45,440 --> 00:11:49,560 successfully bringing a wider audience to the plays 306 00:11:49,600 --> 00:11:51,240 Much Ado About Nothing, 307 00:11:51,280 --> 00:11:52,000 Henry V...' 308 00:11:52,000 --> 00:11:53,360 Henry V...' 309 00:11:53,400 --> 00:11:55,080 Action. '..and Hamlet.' 310 00:11:55,120 --> 00:11:57,280 "And can you by no drift of competence get from him..." 311 00:11:57,320 --> 00:12:00,000 BRANNAGH: Hamlet soaks up everything you might know about making films, 312 00:12:00,000 --> 00:12:00,320 BRANNAGH: Hamlet soaks up everything you might know about making films, 313 00:12:00,360 --> 00:12:03,800 or about acting and about life. 314 00:12:04,800 --> 00:12:08,000 "To be or not to be, 315 00:12:08,000 --> 00:12:08,320 "To be or not to be, 316 00:12:08,360 --> 00:12:10,360 That is the question." 317 00:12:11,920 --> 00:12:14,960 'The last time I appeared on stage with him was at 318 00:12:15,000 --> 00:12:16,000 the Garrick Theatre in 2015, 319 00:12:16,000 --> 00:12:17,240 the Garrick Theatre in 2015, 320 00:12:17,280 --> 00:12:22,760 where I played Paulina to his jealous king Leontes in The Winter's Tale.' 321 00:12:22,800 --> 00:12:24,000 I have drunk and seen the spider. 322 00:12:24,000 --> 00:12:27,800 I have drunk and seen the spider. 323 00:12:27,840 --> 00:12:30,880 Camillo was his help in this. His pander. 324 00:12:30,920 --> 00:12:32,000 There is a plot against my life. My crown. All's true. 325 00:12:32,000 --> 00:12:34,320 There is a plot against my life. My crown. All's true. 326 00:12:34,360 --> 00:12:37,480 I've got a great surprise for you. 327 00:12:37,520 --> 00:12:40,000 This is usually in my bedroom. 328 00:12:41,520 --> 00:12:43,360 Oh, blimey. 329 00:12:43,400 --> 00:12:46,000 It's you as Leontes in The Winter's Tale. 330 00:12:46,040 --> 00:12:47,760 Blimey! Did you ever see it? 331 00:12:47,800 --> 00:12:48,000 I blooming well... I've never seen this. Wow. 332 00:12:48,000 --> 00:12:51,280 I blooming well... I've never seen this. Wow. 333 00:12:51,320 --> 00:12:54,360 I think it's terrific. Wow. 334 00:12:55,720 --> 00:12:56,000 It's only in my bedroom, Ken. 335 00:12:56,000 --> 00:12:57,840 It's only in my bedroom, Ken. 336 00:12:57,880 --> 00:12:59,680 That's slightly unnerving, but... 337 00:12:59,720 --> 00:13:03,120 I think it's wonderful. Very good, very good. 338 00:13:03,160 --> 00:13:04,000 It's a good surprise, isn't it. Gosh, it brings back such a lot of memories. 339 00:13:04,000 --> 00:13:07,560 It's a good surprise, isn't it. Gosh, it brings back such a lot of memories. 340 00:13:07,600 --> 00:13:10,160 What studied torments tyrant has for me, 341 00:13:10,200 --> 00:13:12,000 what wheels, racks, fires? 342 00:13:12,000 --> 00:13:12,120 what wheels, racks, fires? 343 00:13:12,160 --> 00:13:14,800 What flaying and boiling in leads and oils? 344 00:13:14,840 --> 00:13:16,960 'The production was very well received, 345 00:13:17,000 --> 00:13:20,000 except that I do remember one rather embarrassing moment 346 00:13:20,000 --> 00:13:20,120 except that I do remember one rather embarrassing moment 347 00:13:20,160 --> 00:13:23,320 in the wings, when I had what people 348 00:13:23,360 --> 00:13:26,520 I believe nowadays call a wardrobe malfunction.' 349 00:13:26,560 --> 00:13:28,000 Such a lot of memories of standing in the snow, waiting for you 350 00:13:28,000 --> 00:13:29,520 Such a lot of memories of standing in the snow, waiting for you 351 00:13:29,560 --> 00:13:32,800 to come on and hoping that you'd remember to put your skirt on. 352 00:13:32,840 --> 00:13:35,280 (CHUCKLES)Which obviously didn't happen every time. 353 00:13:35,320 --> 00:13:36,000 But that's just a choice, Judi. It's a choice. Um... 354 00:13:36,000 --> 00:13:39,280 But that's just a choice, Judi. It's a choice. Um... 355 00:13:39,320 --> 00:13:41,920 How brilliant to see that. Isn't it lovely? 356 00:13:41,960 --> 00:13:43,880 Yeah. That's fantastic. Beautiful, isn't it. 357 00:13:43,920 --> 00:13:44,000 I'm very honoured to be in the place you mentioned. 358 00:13:44,000 --> 00:13:47,880 I'm very honoured to be in the place you mentioned. 359 00:13:47,920 --> 00:13:51,240 That's probably as much as I need to know, um, at this time. 360 00:13:51,280 --> 00:13:52,000 Let me...Let me put it back there for you. 361 00:13:52,000 --> 00:13:53,520 Let me...Let me put it back there for you. 362 00:13:54,520 --> 00:13:57,400 'Apart from regular returns to the theatre, 363 00:13:57,440 --> 00:14:00,000 for the last 25 years, Ken has mostly concentrated on film.' 364 00:14:00,000 --> 00:14:01,480 for the last 25 years, Ken has mostly concentrated on film.' 365 00:14:01,520 --> 00:14:05,280 (PHOTOGRAPHERS CLAMOUR) JOURNALIST: What was your favourite moment? 366 00:14:05,320 --> 00:14:08,000 Uh, favourite moment was having a duel with Alan Rickman 367 00:14:08,000 --> 00:14:08,920 Uh, favourite moment was having a duel with Alan Rickman 368 00:14:08,960 --> 00:14:12,080 with my wand coming off the worse for it, but enjoying it. 369 00:14:15,240 --> 00:14:16,000 'In that time, he's been celebrated 370 00:14:16,000 --> 00:14:18,160 'In that time, he's been celebrated 371 00:14:18,200 --> 00:14:20,840 as a director of Hollywood blockbusters, 372 00:14:20,880 --> 00:14:24,000 successfully bringing his sharp storytelling eye 373 00:14:24,000 --> 00:14:25,560 successfully bringing his sharp storytelling eye 374 00:14:25,600 --> 00:14:27,880 to the superhero movie. 375 00:14:29,200 --> 00:14:32,000 Most recently, he won a Best Screenwriting Oscar 376 00:14:32,000 --> 00:14:33,520 Most recently, he won a Best Screenwriting Oscar 377 00:14:33,560 --> 00:14:38,040 for a film he also directed... The autobiographical, Belfast.' 378 00:14:38,920 --> 00:14:40,000 (CLAMOURING) 379 00:14:40,000 --> 00:14:40,360 (CLAMOURING) 380 00:14:40,400 --> 00:14:42,480 'It's 1969, the eve 381 00:14:42,520 --> 00:14:45,120 of what became known as The Troubles. 382 00:14:46,800 --> 00:14:48,000 And I play the grandmother of Buddy, 383 00:14:48,000 --> 00:14:49,480 And I play the grandmother of Buddy, 384 00:14:49,520 --> 00:14:52,320 who is about to be uprooted from his hometown 385 00:14:52,360 --> 00:14:54,160 to the unknown world of England, 386 00:14:54,200 --> 00:14:56,000 something that Ken himself experienced as a young boy.' 387 00:14:56,000 --> 00:14:58,960 something that Ken himself experienced as a young boy.' 388 00:14:59,000 --> 00:15:03,240 I was a great one for the pictures when I was your age. 389 00:15:04,840 --> 00:15:07,360 I used to think you could climb right inside the screen 390 00:15:07,400 --> 00:15:09,960 and visit all those strange places you saw, 391 00:15:10,000 --> 00:15:12,000 like that one in that film. What was that? Uh... 392 00:15:12,000 --> 00:15:12,840 like that one in that film. What was that? Uh... 393 00:15:12,880 --> 00:15:15,800 Lost Horizons. Did you ever see that? 394 00:15:15,840 --> 00:15:17,920 No. What was the name of the place granny? 395 00:15:20,040 --> 00:15:23,480 Shangri-La. That's what they called it. 396 00:15:23,520 --> 00:15:25,720 (SIGHS) 397 00:15:27,840 --> 00:15:28,000 God, it's a difficult accent. (LAUGHS) 398 00:15:28,000 --> 00:15:30,240 God, it's a difficult accent. (LAUGHS) 399 00:15:30,280 --> 00:15:31,600 How do you like doing accents? 400 00:15:31,640 --> 00:15:34,280 Because you've done some wonderful accents. And, of course, you- 401 00:15:34,320 --> 00:15:36,000 Irish? Well. Excuse me, though, I had a hard time, if you remember. 402 00:15:36,000 --> 00:15:39,480 Irish? Well. Excuse me, though, I had a hard time, if you remember. 403 00:15:39,520 --> 00:15:42,480 Yes, yes. Because Irish is fine. 404 00:15:42,520 --> 00:15:44,000 Because of my ma and pa and everybody... 405 00:15:44,000 --> 00:15:45,320 Because of my ma and pa and everybody... 406 00:15:45,360 --> 00:15:49,280 and everybody in Dublin, but not the North. 407 00:15:49,320 --> 00:15:52,000 I guess it's got a harder R in it, hasn't it? 408 00:15:52,000 --> 00:15:52,920 I guess it's got a harder R in it, hasn't it? 409 00:15:52,960 --> 00:15:55,360 It can have that sort of domineering thing 410 00:15:55,400 --> 00:15:56,920 and kind of the cadence of it 411 00:15:56,960 --> 00:15:59,760 can get you caught up sometimes in a certain way of doing it. 412 00:15:59,800 --> 00:16:00,000 Whereas down south they're all up and down and around. 413 00:16:00,000 --> 00:16:02,360 Whereas down south they're all up and down and around. 414 00:16:02,400 --> 00:16:05,040 I mean, I'm being very generalised, but they've got all, you know, 415 00:16:05,080 --> 00:16:08,000 they paint with lots of different colours and there can be something. 416 00:16:08,040 --> 00:16:10,280 How... By the way, how... I can't remember what we did. 417 00:16:10,320 --> 00:16:13,240 I guess we tried to help you with it. Did you listen to people? 418 00:16:13,280 --> 00:16:15,560 Did you talk to people? I think I had somebody help me. 419 00:16:15,600 --> 00:16:16,000 Yeah.Oh, yes, I had... I did some work here. 420 00:16:16,000 --> 00:16:18,640 Yeah.Oh, yes, I had... I did some work here. 421 00:16:18,680 --> 00:16:21,480 Not enough, I think. When I saw it, I thought, "Oh no." 422 00:16:21,520 --> 00:16:24,000 Especially the last line. 423 00:16:24,000 --> 00:16:24,240 Especially the last line. 424 00:16:24,280 --> 00:16:26,280 Go. (BUS ENGINE RUMBLES) 425 00:16:27,400 --> 00:16:29,400 Go now. 426 00:16:32,160 --> 00:16:33,680 Don't look back. 427 00:16:33,720 --> 00:16:36,520 If you recall, we're in an enormous close up of you, 428 00:16:36,560 --> 00:16:39,200 so not too much moving around required. 429 00:16:39,240 --> 00:16:40,000 I love you, son. (NOSTALGIC MUSIC) 430 00:16:40,000 --> 00:16:41,440 I love you, son. (NOSTALGIC MUSIC) 431 00:16:42,840 --> 00:16:45,480 That's what I admire about the way you've arrived at your sort of 432 00:16:45,520 --> 00:16:47,320 skill on camera, 433 00:16:47,360 --> 00:16:48,000 is that you were able to hear direction, as we're going, 434 00:16:48,000 --> 00:16:50,160 is that you were able to hear direction, as we're going, 435 00:16:50,200 --> 00:16:53,040 camera still turning. You kept hearing me give notes about, 436 00:16:53,080 --> 00:16:55,840 "Slow down this. Oh, say that line again. 437 00:16:55,880 --> 00:16:56,000 Oh, do this." Incredible patience. 438 00:16:56,000 --> 00:16:57,880 Oh, do this." Incredible patience. 439 00:17:02,920 --> 00:17:04,000 It was a fascinating thing to direct a young Jude Hill as Buddy. 440 00:17:04,000 --> 00:17:07,400 It was a fascinating thing to direct a young Jude Hill as Buddy. 441 00:17:09,160 --> 00:17:11,040 Because someone like Jude, at nine years old, 442 00:17:11,080 --> 00:17:12,000 the minute you do something different, he's onto it. 443 00:17:12,000 --> 00:17:13,440 the minute you do something different, he's onto it. 444 00:17:13,480 --> 00:17:16,800 If you repeat yourself, you have to be very alive with children. 445 00:17:16,840 --> 00:17:18,240 You have to... In acting. 446 00:17:18,280 --> 00:17:20,000 Listen, I don't have kids, so I don't know. 447 00:17:20,000 --> 00:17:20,120 Listen, I don't have kids, so I don't know. 448 00:17:20,160 --> 00:17:22,200 But in terms of keeping them alive in the scene, 449 00:17:22,240 --> 00:17:24,480 you have to be entirely present. 450 00:17:24,520 --> 00:17:26,800 Otherwise, they know you've gone to lunch, and they'll... 451 00:17:26,840 --> 00:17:28,000 go to lunch as well, as it were. 452 00:17:28,000 --> 00:17:29,120 go to lunch as well, as it were. 453 00:17:29,160 --> 00:17:31,760 But I am a person! That's the point.(CHUCKLES) 454 00:17:33,720 --> 00:17:36,000 'One of the most moving scenes in the film 455 00:17:36,000 --> 00:17:36,040 'One of the most moving scenes in the film 456 00:17:36,080 --> 00:17:39,360 is when young Buddy visits his grandfather. 457 00:17:40,280 --> 00:17:44,000 The prospect of leaving everything he knows drawing closer.' 458 00:17:44,000 --> 00:17:44,400 The prospect of leaving everything he knows drawing closer.' 459 00:17:44,440 --> 00:17:46,080 You know who you are, don't you? 460 00:17:46,120 --> 00:17:47,720 Yes, pop. 461 00:17:47,760 --> 00:17:50,480 You're Buddy from Belfast, 15. 462 00:17:52,200 --> 00:17:56,960 Where everybody knows you, and your pop looks out for you. 463 00:17:57,000 --> 00:18:00,000 And your mammy looks out for you, your daddy looks out for you. 464 00:18:00,000 --> 00:18:00,200 And your mammy looks out for you, your daddy looks out for you. 465 00:18:00,240 --> 00:18:03,240 Your granny looks out for you, your brother looks out for you, 466 00:18:03,280 --> 00:18:06,440 the whole family looks out for you. 467 00:18:06,480 --> 00:18:08,000 And wherever you go and whatever you become, 468 00:18:08,000 --> 00:18:11,000 And wherever you go and whatever you become, 469 00:18:11,040 --> 00:18:14,520 that'll always be the truth. Can you remember that for me? 470 00:18:14,560 --> 00:18:16,000 Yes, pop. 471 00:18:16,000 --> 00:18:16,920 Yes, pop. 472 00:18:16,960 --> 00:18:18,880 Aye. Fine man you are. 473 00:18:18,920 --> 00:18:21,240 It was interesting to stay close with them. 474 00:18:21,280 --> 00:18:24,000 And then for a moment, that's almost too much, 475 00:18:24,000 --> 00:18:24,400 And then for a moment, that's almost too much, 476 00:18:24,440 --> 00:18:27,800 and for a moment that's almost sort of overwhelming for the pair of them 477 00:18:27,840 --> 00:18:30,760 particularly for the grandfather, a man who comes from a culture 478 00:18:30,800 --> 00:18:32,000 where men don't share their feelings, 479 00:18:32,000 --> 00:18:32,800 where men don't share their feelings, 480 00:18:32,840 --> 00:18:34,360 men don't share their emotions. 481 00:18:34,400 --> 00:18:38,720 But how could you not with a kid who's talking about a farewell. 482 00:18:38,760 --> 00:18:40,000 Aye. Forget about what your father and your mother want. 483 00:18:40,000 --> 00:18:43,160 Aye. Forget about what your father and your mother want. 484 00:18:44,200 --> 00:18:46,760 What do you want? 485 00:18:46,800 --> 00:18:48,000 I want you and granny to come too. 486 00:18:48,000 --> 00:18:49,560 I want you and granny to come too. 487 00:18:51,000 --> 00:18:54,120 I had the instinct when we shot it to then just move away from them 488 00:18:54,160 --> 00:18:56,000 and be outside and let them have their kind of moment, 489 00:18:56,000 --> 00:18:57,240 and be outside and let them have their kind of moment, 490 00:18:57,280 --> 00:19:01,360 because it's almost too... too private and too...too delicate. 491 00:19:03,760 --> 00:19:04,000 And trying to direct that film was almost trying to be like 492 00:19:04,000 --> 00:19:06,360 And trying to direct that film was almost trying to be like 493 00:19:06,400 --> 00:19:10,360 another role, another character who was being as sensitive 494 00:19:10,400 --> 00:19:12,000 as you could be to their situation, which is any family's situation 495 00:19:12,000 --> 00:19:14,360 as you could be to their situation, which is any family's situation 496 00:19:14,400 --> 00:19:17,480 when they're dealing with change. It was personally yours.Yes. 497 00:19:17,520 --> 00:19:20,000 So, it was also, one had to be respectful to my parents 498 00:19:20,000 --> 00:19:21,280 So, it was also, one had to be respectful to my parents 499 00:19:21,320 --> 00:19:23,440 and my grandparents and to people they knew. 500 00:19:23,480 --> 00:19:26,560 It wasn't a literal version of their lives, but it was something 501 00:19:26,600 --> 00:19:28,000 that one was trying to be honest and open about. 502 00:19:28,000 --> 00:19:29,920 that one was trying to be honest and open about. 503 00:19:29,960 --> 00:19:32,240 But it's very, very, very, very delicate 504 00:19:32,280 --> 00:19:34,640 just the way human relationships are. 505 00:19:34,680 --> 00:19:36,000 And so it was uh...it was quite the lesson. As it was— 506 00:19:36,000 --> 00:19:38,200 And so it was uh...it was quite the lesson. As it was— 507 00:19:38,240 --> 00:19:40,360 What was their reaction to it?, Your family 508 00:19:40,400 --> 00:19:42,360 Well, of course, my mama and papa were gathered. 509 00:19:42,400 --> 00:19:44,000 God knows what they would have thought it just um... 510 00:19:44,000 --> 00:19:44,480 God knows what they would have thought it just um... 511 00:19:44,520 --> 00:19:47,880 But my family, my dear brother and my dear sister were, I think, 512 00:19:47,920 --> 00:19:49,880 chuffed to bits. And we all saw it together 513 00:19:49,920 --> 00:19:52,000 in Belfast on a Thursday night in November, 514 00:19:52,000 --> 00:19:52,800 in Belfast on a Thursday night in November, 515 00:19:52,840 --> 00:19:55,040 which absolutely... with a lot of family there. 516 00:19:55,080 --> 00:20:00,000 And that was a big, big, big, big... (INHALES SHARPLY) 517 00:20:00,000 --> 00:20:00,400 And that was a big, big, big, big... (INHALES SHARPLY) 518 00:20:00,440 --> 00:20:02,760 I bet. A big thing, a big thing. 519 00:20:04,840 --> 00:20:06,840 (SOFT MUSIC) (BIRDSONG) 520 00:20:09,000 --> 00:20:12,160 'After leaving Belfast, Ken's family moved to Reading. 521 00:20:12,200 --> 00:20:14,880 Not exactly Shangri-La, 522 00:20:14,920 --> 00:20:16,000 but a journey of discovery nonetheless.' 523 00:20:16,000 --> 00:20:17,240 but a journey of discovery nonetheless.' 524 00:20:22,080 --> 00:20:24,000 This is a recording that I... 525 00:20:24,000 --> 00:20:24,880 This is a recording that I... 526 00:20:24,920 --> 00:20:28,960 I have to say I slightly thieved 527 00:20:29,000 --> 00:20:32,000 from the English stock room at my school, Medway Comprehensive. 528 00:20:32,000 --> 00:20:33,280 from the English stock room at my school, Medway Comprehensive. 529 00:20:33,320 --> 00:20:37,440 It wasn't being used and it is Sir John Gielgud's The Ages... 530 00:20:37,480 --> 00:20:39,400 Of Man?Yeah. I saw that. 531 00:20:39,440 --> 00:20:40,000 Did you see it? Oh, yes. 532 00:20:40,000 --> 00:20:41,440 Did you see it? Oh, yes. 533 00:20:42,520 --> 00:20:45,320 'Sir John Gielgud's celebrated Ages of Man 534 00:20:45,360 --> 00:20:48,000 was a tour de force through the great Shakespearian speeches. 535 00:20:48,000 --> 00:20:49,640 was a tour de force through the great Shakespearian speeches. 536 00:20:49,680 --> 00:20:52,720 (RECORD CRACKLES) 'Shall I compare thee to a summer's day? 537 00:20:52,760 --> 00:20:55,960 Thou art more lovely and more temperate. 538 00:20:56,000 --> 00:20:59,240 Rough winds do shake the darling buds of May...' 539 00:20:59,280 --> 00:21:02,960 'Gielgud was one of the most renowned classical actors 540 00:21:03,000 --> 00:21:04,000 of his generation...' 541 00:21:04,000 --> 00:21:04,800 of his generation...' 542 00:21:04,840 --> 00:21:08,480 Where were your gibes now? Your gambols, your songs, 543 00:21:08,520 --> 00:21:10,240 your flashes of merriment... 544 00:21:10,280 --> 00:21:12,000 '..and was a huge influence on me and Ken.' 545 00:21:12,000 --> 00:21:13,080 '..and was a huge influence on me and Ken.' 546 00:21:13,120 --> 00:21:15,160 But one now to mock your own grinning. 547 00:21:17,560 --> 00:21:19,560 Quite chop fallen. 548 00:21:19,600 --> 00:21:20,000 When I was at drama school, I remember my principal, 549 00:21:20,000 --> 00:21:23,760 When I was at drama school, I remember my principal, 550 00:21:23,800 --> 00:21:26,440 Hugh Cruttwell, had him come to see me do a bit of Hamlet. 551 00:21:26,480 --> 00:21:28,000 And without telling me, he said, "I've got somebody I wanted 552 00:21:28,000 --> 00:21:29,680 And without telling me, he said, "I've got somebody I wanted 553 00:21:29,720 --> 00:21:32,720 to look at the speech for you, might have a few tips or whatever." 554 00:21:32,760 --> 00:21:35,080 And into the room walked Sir John Gielgud, 555 00:21:35,120 --> 00:21:36,000 universally acknowledged as the Hamlet of the century. 556 00:21:36,000 --> 00:21:39,120 universally acknowledged as the Hamlet of the century. 557 00:21:39,160 --> 00:21:43,040 I'm 19 years old. (SLURS) I could barely speak. 558 00:21:43,080 --> 00:21:44,000 The idea that I could then do the Hamlet... 559 00:21:44,000 --> 00:21:45,840 The idea that I could then do the Hamlet... 560 00:21:45,880 --> 00:21:48,400 And then I saw, when I finished doing the speech. 561 00:21:48,440 --> 00:21:51,600 So I managed to get through it and you could tell his eyes were moist 562 00:21:51,640 --> 00:21:52,000 because he was just seeing this kid. 563 00:21:52,000 --> 00:21:53,520 because he was just seeing this kid. 564 00:21:53,560 --> 00:21:57,160 He was seeing this kid, an 18, 19-year-old, doing this thing. 565 00:21:57,200 --> 00:21:59,040 He said, "Oh, no, that was very good. 566 00:21:59,080 --> 00:22:00,000 You're pushing a little hard on that. 567 00:22:00,000 --> 00:22:00,760 You're pushing a little hard on that. 568 00:22:00,800 --> 00:22:03,320 The real climax is bloody bawdy villain, and that's nice, 569 00:22:03,360 --> 00:22:05,320 but then put the lid on it for the rest of it, 570 00:22:05,360 --> 00:22:07,000 and I think you'll do rather well." 571 00:22:07,040 --> 00:22:08,000 Oh, Fanny, I've got something in my right eye. 572 00:22:08,000 --> 00:22:09,880 Oh, Fanny, I've got something in my right eye. 573 00:22:09,920 --> 00:22:11,880 I can't see properly. 574 00:22:11,920 --> 00:22:14,240 'I worked with him in The Cherry Orchard.' 575 00:22:15,160 --> 00:22:16,000 You're not my niece. You're my guardian angel. 576 00:22:16,000 --> 00:22:18,160 You're not my niece. You're my guardian angel. 577 00:22:18,200 --> 00:22:21,240 'Directed by Michel Saint-Denis.' 578 00:22:21,280 --> 00:22:24,000 And a little while ago I began making that ridiculous speech 579 00:22:24,000 --> 00:22:24,480 And a little while ago I began making that ridiculous speech 580 00:22:24,520 --> 00:22:28,280 about the bookcase. So stupid of me. 581 00:22:28,320 --> 00:22:30,840 If only you didn't talk, you'd be so much happier. 582 00:22:31,880 --> 00:22:32,000 DENCH: (OS) Sir John was playing Gaev, 583 00:22:32,000 --> 00:22:33,880 DENCH: (OS) Sir John was playing Gaev, 584 00:22:33,920 --> 00:22:37,440 I was playing Anna, and we did a run through, 585 00:22:37,480 --> 00:22:39,680 and we all had to come on stage for notes. 586 00:22:39,720 --> 00:22:40,000 And we sat there and, um... 587 00:22:40,000 --> 00:22:42,120 And we sat there and, um... 588 00:22:42,160 --> 00:22:45,320 and, uh, Michel said, 589 00:22:45,360 --> 00:22:47,800 "Peggy..." That's Peggy Ashcroft. 590 00:22:47,840 --> 00:22:48,000 "Peggy...what can I say?" (CHUCKLES) 591 00:22:48,000 --> 00:22:50,720 "Peggy...what can I say?" (CHUCKLES) 592 00:22:54,280 --> 00:22:56,000 "Dorothy..." Dororthy Tutin. 593 00:22:56,000 --> 00:22:56,640 "Dorothy..." Dororthy Tutin. 594 00:22:56,680 --> 00:22:59,600 Dorothy, you were a marvel. 595 00:23:00,680 --> 00:23:03,600 (GIGGLES) "Judi... 596 00:23:04,880 --> 00:23:08,120 (LAUGHS RAUCOUSLY) "John, you..." 597 00:23:08,160 --> 00:23:10,040 It's true. 598 00:23:10,080 --> 00:23:11,720 And after... (CHUCKLES) 599 00:23:11,760 --> 00:23:12,000 And after the notes, he said... he said to me. 600 00:23:12,000 --> 00:23:14,040 And after the notes, he said... he said to me. 601 00:23:14,080 --> 00:23:17,560 (AS SIR JOHN) "Well, if you'd been doing that for me, I'd be delighted. 602 00:23:17,600 --> 00:23:19,600 Aww. So, then I was... 603 00:23:21,440 --> 00:23:24,760 Johnny G. He gets... He gets a big tick in our book. 604 00:23:24,800 --> 00:23:27,480 You are so good and clever. Ah, ha, ha. 605 00:23:27,520 --> 00:23:28,000 I feel so much better now. Mm.Calmer and happier. 606 00:23:28,000 --> 00:23:31,760 I feel so much better now. Mm.Calmer and happier. 607 00:23:31,800 --> 00:23:35,560 Weren't we in the film of... You came in to Hamlet. 608 00:23:35,600 --> 00:23:36,000 Yes, yes, yes. Sir John came and was old Priam. 609 00:23:36,000 --> 00:23:38,800 Yes, yes, yes. Sir John came and was old Priam. 610 00:23:38,840 --> 00:23:41,520 He was Priam. He was old Priam. Yeah. 611 00:23:41,560 --> 00:23:44,000 ...His antique sword, rebellious to his arm, lies where it falls. 612 00:23:44,000 --> 00:23:46,800 ...His antique sword, rebellious to his arm, lies where it falls. 613 00:23:46,840 --> 00:23:48,360 Repugnant. 614 00:23:48,400 --> 00:23:49,960 You play Hecuba. 615 00:23:50,000 --> 00:23:52,000 Yes. That's right. A lot of headscarf acting. 616 00:23:52,000 --> 00:23:52,320 Yes. That's right. A lot of headscarf acting. 617 00:23:52,360 --> 00:23:55,480 Was it headscarf acting? But you made it more than that. 618 00:23:55,520 --> 00:23:57,400 You made it much more than that. 619 00:23:57,440 --> 00:23:59,000 FIRST PLAYER: Her husband's limbs. 620 00:23:59,040 --> 00:24:00,000 The instant burst of clamour that she made... 621 00:24:00,000 --> 00:24:01,520 The instant burst of clamour that she made... 622 00:24:01,560 --> 00:24:05,560 DENCH: (OS) No lines. BRANNAGH: (OS) And no lines. Lots of wailing, though. You looked sad. 623 00:24:05,600 --> 00:24:07,760 You look put out anyway. You look very put out. 624 00:24:07,800 --> 00:24:08,000 'Ken, of course, has directed me many times. 625 00:24:08,000 --> 00:24:11,200 'Ken, of course, has directed me many times. 626 00:24:11,240 --> 00:24:15,760 But what people may not know is that I have also directed him.' 627 00:24:15,800 --> 00:24:16,000 Are we ready?Yeah. Come on, let's get a move on... 628 00:24:16,000 --> 00:24:19,000 Are we ready?Yeah. Come on, let's get a move on... 629 00:24:19,040 --> 00:24:22,040 'Once in John Osborne's Look Back in Anger...' 630 00:24:22,080 --> 00:24:24,000 Sounds like some fleshy Roman matron, doesn't it? 631 00:24:24,000 --> 00:24:24,720 Sounds like some fleshy Roman matron, doesn't it? 632 00:24:24,760 --> 00:24:26,600 The lady Pusillanimous... 633 00:24:28,040 --> 00:24:30,320 Do you want me to carry on? Keep going. 634 00:24:30,360 --> 00:24:32,000 'And before that, in Much Ado About Nothing 635 00:24:32,000 --> 00:24:33,240 'And before that, in Much Ado About Nothing 636 00:24:33,280 --> 00:24:34,800 at the Queen's Theatre.' 637 00:24:34,840 --> 00:24:38,840 Against my will, I am sent to bid you come in to dinner. 638 00:24:38,880 --> 00:24:40,000 There's a double meaning in that. 639 00:24:40,000 --> 00:24:41,160 There's a double meaning in that. 640 00:24:41,200 --> 00:24:42,960 Anyway... (LAUGHS) 641 00:24:43,000 --> 00:24:45,760 That's rubbish. That's rubbish. 642 00:24:45,800 --> 00:24:47,800 It pains, I think. (MUMBLES) 643 00:24:47,840 --> 00:24:48,000 You mustn't say "There's a double meaning in that" so quickly. 644 00:24:48,000 --> 00:24:50,920 You mustn't say "There's a double meaning in that" so quickly. 645 00:24:50,960 --> 00:24:54,520 Right. Yeah. Well, literally say, or leave more of a pause? 646 00:24:54,560 --> 00:24:56,000 Well, no, no, just leave the pause. But you say... (QUICKLY) ..There's a double meaning in there. 647 00:24:56,000 --> 00:24:58,400 Well, no, no, just leave the pause. But you say... (QUICKLY) ..There's a double meaning in there. 648 00:24:58,440 --> 00:25:02,280 You just don't hear it. Leave the pause because you everyone goes... 649 00:25:02,320 --> 00:25:04,000 Yeah.There's a double meaning in that. I mean... 650 00:25:04,000 --> 00:25:05,040 Yeah.There's a double meaning in that. I mean... 651 00:25:05,080 --> 00:25:07,680 Right... ..storm them. 652 00:25:07,720 --> 00:25:10,640 I remember coming to give you notes somewhere.Yes. 653 00:25:10,680 --> 00:25:12,000 Coming to see it, and you leaving. Well...I think you left. 654 00:25:12,000 --> 00:25:14,360 Coming to see it, and you leaving. Well...I think you left. 655 00:25:14,400 --> 00:25:17,560 There was one time, but I... but I also remember you coming round 656 00:25:17,600 --> 00:25:20,000 to see me after the first preview. 657 00:25:20,000 --> 00:25:20,720 to see me after the first preview. 658 00:25:20,760 --> 00:25:23,120 And I said, "Well, how did it go, Judi?" 659 00:25:23,160 --> 00:25:26,920 You said, "It was like watching a slow motion pileup on a motorway." 660 00:25:26,960 --> 00:25:28,000 "Not good then?" I said. "Not so good, no. 661 00:25:28,000 --> 00:25:29,720 "Not good then?" I said. "Not so good, no. 662 00:25:29,760 --> 00:25:33,160 "No, you missed everything." No, I never... 663 00:25:33,200 --> 00:25:36,000 You make it up as you go along. 664 00:25:36,000 --> 00:25:36,120 You make it up as you go along. 665 00:25:36,160 --> 00:25:37,760 (BOTH LAUGH) I never said that. 666 00:25:37,800 --> 00:25:40,240 I know you were... What was sweet was you were occasionally... 667 00:25:40,280 --> 00:25:43,480 you were pretty cross with us at various times, but you mostly didn't show it. 668 00:25:43,520 --> 00:25:44,000 Well, because you wanted it to be good. 669 00:25:44,000 --> 00:25:45,640 Well, because you wanted it to be good. 670 00:25:45,680 --> 00:25:47,760 You used to tell me... In fact, you came in... 671 00:25:47,800 --> 00:25:50,800 I know you gave me a hard time- I don't think I corrected you at all. 672 00:25:50,840 --> 00:25:52,000 No, you came in when we were in Brighton. 673 00:25:52,000 --> 00:25:54,000 No, you came in when we were in Brighton. 674 00:25:54,040 --> 00:25:58,320 We were on tour in Brighton. And you said "Kenny. Kenny. Kenny! 675 00:25:58,360 --> 00:26:00,000 Stand up, stand up! Kenny! Kenny!" (CHUCKLES) 676 00:26:00,000 --> 00:26:01,160 Stand up, stand up! Kenny! Kenny!" (CHUCKLES) 677 00:26:01,200 --> 00:26:05,240 "You've gone very, very West End." I said. "What do you mean?" 678 00:26:05,280 --> 00:26:07,720 "You're not looking at anybody? It's all out front. 679 00:26:07,760 --> 00:26:08,000 It's all out front. It's laugh, laugh, laugh, laugh, laugh." 680 00:26:08,000 --> 00:26:10,680 It's all out front. It's laugh, laugh, laugh, laugh, laugh." 681 00:26:10,720 --> 00:26:15,400 And I took those words and stamped, they're branded on my conscience. 682 00:26:15,440 --> 00:26:16,000 Not true. So anytime I... 683 00:26:16,000 --> 00:26:17,480 Not true. So anytime I... 684 00:26:17,520 --> 00:26:19,640 anytime I feel like I'm using bad taste, 685 00:26:19,680 --> 00:26:21,480 I think of Judi Dench saying, 686 00:26:21,520 --> 00:26:23,320 "Kenny, you've gone very, very West End." 687 00:26:23,360 --> 00:26:24,000 With, I hasten to add, you did it with a little bit of a waggy finger. 688 00:26:24,000 --> 00:26:27,040 With, I hasten to add, you did it with a little bit of a waggy finger. 689 00:26:27,080 --> 00:26:30,400 So it was, it was... Well, that was me acting a director. 690 00:26:30,440 --> 00:26:32,000 Why did you decide you fancied directing a bit? 691 00:26:32,000 --> 00:26:33,480 Why did you decide you fancied directing a bit? 692 00:26:33,520 --> 00:26:36,200 I didn't. You persuaded me. But you also did... 693 00:26:36,240 --> 00:26:39,120 I didn't want to do it. You made me. Well... (CHUCKLES) 694 00:26:39,160 --> 00:26:40,000 For the money. For the... Of course. 695 00:26:40,000 --> 00:26:41,040 For the money. For the... Of course. 696 00:26:41,080 --> 00:26:43,320 And that's you all over, I must say. 697 00:26:43,360 --> 00:26:47,280 Do you have any...? I'm sure you have plenty of pieces of advice 698 00:26:47,320 --> 00:26:48,000 that a director might have given you that you think, 699 00:26:48,000 --> 00:26:49,680 that a director might have given you that you think, 700 00:26:49,720 --> 00:26:51,600 "Ohh, that's a useful one?" 701 00:26:51,640 --> 00:26:55,200 Less is more. That's all I know, Ken.Mm-hm. 702 00:26:55,240 --> 00:26:56,000 Because when you, you know, you want to do everything... 703 00:26:56,000 --> 00:26:58,960 Because when you, you know, you want to do everything... 704 00:26:59,000 --> 00:27:03,680 I mean, I realise now that, of course, when Ophelia comes on 705 00:27:03,720 --> 00:27:04,000 and says, when she's mad, 706 00:27:04,000 --> 00:27:06,120 and says, when she's mad, 707 00:27:06,160 --> 00:27:11,280 "Where is the beauteous majesty of Denmark?"...Majesty of Denmark. 708 00:27:11,320 --> 00:27:12,000 I don't, you know, I was so mad. 709 00:27:12,000 --> 00:27:13,760 I don't, you know, I was so mad. 710 00:27:13,800 --> 00:27:16,160 I mean, I was a box of frogs running on.Yes. 711 00:27:16,200 --> 00:27:18,920 All you'd have to do is to go up to the wrong person, 712 00:27:18,960 --> 00:27:20,000 like anybody on stage, 713 00:27:20,000 --> 00:27:22,520 like anybody on stage, 714 00:27:22,560 --> 00:27:25,920 BUT the Queen and just say it to them, you know? 715 00:27:25,960 --> 00:27:28,000 Then you'd know she wasn't too tightly wrapped. 716 00:27:28,000 --> 00:27:28,440 Then you'd know she wasn't too tightly wrapped. 717 00:27:28,480 --> 00:27:32,120 You don't have to, you know, less is always more, isn't it? 718 00:27:32,160 --> 00:27:34,280 But you don't trust yourself to do that. 719 00:27:34,320 --> 00:27:36,000 No. And you want... It's very tempting, 720 00:27:36,000 --> 00:27:36,840 No. And you want... It's very tempting, 721 00:27:36,880 --> 00:27:40,880 Or you feel as though it's required to tear a passion to tatters. 722 00:27:40,920 --> 00:27:43,640 The whole story of my acting life has been trying to do less 723 00:27:43,680 --> 00:27:44,000 and less and less. There will be plenty of people who disagree 724 00:27:44,000 --> 00:27:46,080 and less and less. There will be plenty of people who disagree 725 00:27:46,120 --> 00:27:48,800 whether I've managed to do it, but that's sort of scary, isn't it? 726 00:27:48,840 --> 00:27:52,000 Yes.So it's rather vulnerable to be um...to be that way. 727 00:27:52,000 --> 00:27:53,680 Yes.So it's rather vulnerable to be um...to be that way. 728 00:27:53,720 --> 00:27:55,720 (SOFT MUSIC) 729 00:27:58,560 --> 00:28:00,000 (WOLF WHISTLES) 730 00:28:00,000 --> 00:28:01,160 (WOLF WHISTLES) 731 00:28:01,200 --> 00:28:03,720 I was once in a scene with three actors, 732 00:28:03,760 --> 00:28:05,400 and one of them said to me, rather like 733 00:28:05,440 --> 00:28:07,360 this person doing nothing at the back here. 734 00:28:07,400 --> 00:28:08,000 I said, "Oh, so we're going to do the scene in a minute. 735 00:28:08,000 --> 00:28:10,360 I said, "Oh, so we're going to do the scene in a minute. 736 00:28:10,400 --> 00:28:14,200 Are you going to do something or are you going to do nothing? 737 00:28:14,240 --> 00:28:16,000 Because if you're doing something, I'm doing nothing. 738 00:28:16,000 --> 00:28:16,600 Because if you're doing something, I'm doing nothing. 739 00:28:16,640 --> 00:28:20,600 But if you are doing nothing, I'll do something." (CHUCKLES) 740 00:28:20,640 --> 00:28:24,000 And at the moment, I would say the two of us are doing something 741 00:28:24,000 --> 00:28:24,160 And at the moment, I would say the two of us are doing something 742 00:28:24,200 --> 00:28:27,160 and this one's doing nothing, and everybody's looking at that one. 743 00:28:27,200 --> 00:28:29,720 Watching her. Of course.The story of my life, the story of my life. 744 00:28:29,760 --> 00:28:31,840 She's not a fool. Now that's a movie star. 745 00:28:31,880 --> 00:28:32,000 Sweetheart. That's how you define a movie star. 746 00:28:32,000 --> 00:28:34,520 Sweetheart. That's how you define a movie star. 747 00:28:34,560 --> 00:28:35,920 (CHATTERS) 748 00:28:38,400 --> 00:28:40,000 I want to ask you about this painting, Jude, 749 00:28:40,000 --> 00:28:40,520 I want to ask you about this painting, Jude, 750 00:28:40,560 --> 00:28:43,040 because it's such a fantastic likeness 751 00:28:43,080 --> 00:28:45,880 of the brilliant Mr. Michael Williams.Mikey. 752 00:28:47,120 --> 00:28:48,000 'Michael and I were married just short of 30 years 753 00:28:48,000 --> 00:28:50,800 'Michael and I were married just short of 30 years 754 00:28:50,840 --> 00:28:53,560 when he died in 2001.' 755 00:28:53,600 --> 00:28:56,000 Look at that Ken.Yes. I mean, you knew him well. 756 00:28:56,000 --> 00:28:56,680 Look at that Ken.Yes. I mean, you knew him well. 757 00:28:56,720 --> 00:28:59,520 That's so, it's brilliantly painted. 758 00:28:59,560 --> 00:29:03,080 Yes, I think-But there's something about his foot there. 759 00:29:03,120 --> 00:29:04,000 And his... Oh, gosh. 760 00:29:04,000 --> 00:29:05,320 And his... Oh, gosh. 761 00:29:05,360 --> 00:29:07,840 His hands. I love it. 762 00:29:08,880 --> 00:29:10,680 I really love it. 763 00:29:19,200 --> 00:29:20,000 And you acted on stage a lot with Michael, didn't you? 764 00:29:20,000 --> 00:29:21,800 And you acted on stage a lot with Michael, didn't you? 765 00:29:21,840 --> 00:29:25,080 We did. Yeah? Was that easy? Simple? 766 00:29:25,120 --> 00:29:27,440 Or was it times when you thought, "Oh, bloody hell, 767 00:29:27,480 --> 00:29:28,000 I've got to go home to this guy? Yes. 768 00:29:28,000 --> 00:29:30,040 I've got to go home to this guy? Yes. 769 00:29:30,080 --> 00:29:32,640 Times where we had quite a tricky time.Yes. 770 00:29:32,680 --> 00:29:35,480 He said in The Merchant of Venice, 771 00:29:35,520 --> 00:29:36,000 Uh...We were... we were not long married. 772 00:29:36,000 --> 00:29:39,760 Uh...We were... we were not long married. 773 00:29:39,800 --> 00:29:42,400 We were at Stratford together, and he played Bassanio, 774 00:29:42,440 --> 00:29:44,000 and I played Portia. And I said to him, 775 00:29:44,000 --> 00:29:44,520 and I played Portia. And I said to him, 776 00:29:44,560 --> 00:29:48,680 "I speak too long, but just to peise the time, 777 00:29:48,720 --> 00:29:51,160 to eke it and to draw it out in length, 778 00:29:51,200 --> 00:29:52,000 to stay you from erection." (LAUGHS) 779 00:29:52,000 --> 00:29:53,160 to stay you from erection." (LAUGHS) 780 00:29:53,200 --> 00:29:55,400 Which, election, you know, is the line. 781 00:29:55,440 --> 00:29:59,040 Well, the wind band left the stage. They just walked off, 782 00:29:59,080 --> 00:30:00,000 and Michael and I were left to face away from each other. 783 00:30:00,000 --> 00:30:03,000 and Michael and I were left to face away from each other. 784 00:30:03,040 --> 00:30:06,080 Contemplating what the audience made of his erection. 785 00:30:06,120 --> 00:30:08,000 (INDISTINCT) 786 00:30:08,000 --> 00:30:08,720 (INDISTINCT) 787 00:30:08,760 --> 00:30:11,240 Which may or may not have been what Shakespeare meant. 788 00:30:11,280 --> 00:30:13,560 I don't know, it seems to me it works perfectly well. 789 00:30:13,600 --> 00:30:15,760 It's more fool him for using a word like that 790 00:30:15,800 --> 00:30:16,000 that could be easily mispronounced. 791 00:30:16,000 --> 00:30:17,360 that could be easily mispronounced. 792 00:30:17,400 --> 00:30:20,680 I remember when we were making the film of Henry V, in which, 793 00:30:20,720 --> 00:30:24,000 unusually, uh, Michael Williams played the role of Michael Williams. 794 00:30:24,000 --> 00:30:24,760 unusually, uh, Michael Williams played the role of Michael Williams. 795 00:30:24,800 --> 00:30:26,360 Michael Williams. He did. 796 00:30:27,440 --> 00:30:30,240 And if the cause be not good, 797 00:30:30,280 --> 00:30:32,000 the King himself hath a heavy reckoning to make. 798 00:30:32,000 --> 00:30:32,720 the King himself hath a heavy reckoning to make. 799 00:30:33,760 --> 00:30:37,560 And all those legs and arms and heads chopped off in a battle 800 00:30:37,600 --> 00:30:40,000 shall join together at the latter day and cry all, 801 00:30:40,000 --> 00:30:41,160 shall join together at the latter day and cry all, 802 00:30:42,520 --> 00:30:45,040 "We died at such a place." 803 00:30:46,280 --> 00:30:48,000 Some swearing, some crying for a surgeon. 804 00:30:48,000 --> 00:30:49,720 Some swearing, some crying for a surgeon. 805 00:30:51,160 --> 00:30:54,160 Some upon the wives left poor behind them. 806 00:30:54,200 --> 00:30:56,000 Some upon the debts they owe. 807 00:30:56,000 --> 00:30:56,880 Some upon the debts they owe. 808 00:30:56,920 --> 00:30:59,240 Some upon their children rawly left. 809 00:31:08,920 --> 00:31:11,160 Now that's a very talented young actor. 810 00:31:11,200 --> 00:31:12,000 He had such a tack, and he had such a sort of strong, 811 00:31:12,000 --> 00:31:14,800 He had such a tack, and he had such a sort of strong, 812 00:31:14,840 --> 00:31:17,600 and as it happened, very masculine presence 813 00:31:17,640 --> 00:31:20,000 and very... He had that incredible sort of movie star jaw 814 00:31:20,000 --> 00:31:21,440 and very... He had that incredible sort of movie star jaw 815 00:31:21,480 --> 00:31:24,760 and those piercing eyes and... Eye. Blue eyes. 816 00:31:24,800 --> 00:31:27,440 Yeah. A handsome lad, wasn't he? He was. 817 00:31:30,485 --> 00:31:34,320 What is it about Shakespeare that means that we continue... 818 00:31:34,360 --> 00:31:36,000 (DULL THUDDING) ..to want to tell stories? 819 00:31:36,000 --> 00:31:36,440 (DULL THUDDING) ..to want to tell stories? 820 00:31:36,480 --> 00:31:38,840 And there you go. Beating of your heart.Mm-hm. 821 00:31:38,880 --> 00:31:42,840 The beating of your heart, all those lines. 822 00:31:42,880 --> 00:31:44,000 It's what it sounds like or feels... Well, it's exactly what it is, 823 00:31:44,000 --> 00:31:45,800 It's what it sounds like or feels... Well, it's exactly what it is, 824 00:31:45,840 --> 00:31:48,320 and it's how you kind of retain it, isn't it. 825 00:31:48,360 --> 00:31:51,440 When it's going with that rhythm of di-da, di-da, di-da. 826 00:31:51,480 --> 00:31:52,000 When it's going with that beat. Yeah, yeah, yeah. 827 00:31:52,000 --> 00:31:53,840 When it's going with that beat. Yeah, yeah, yeah. 828 00:31:53,880 --> 00:31:57,080 My father had a daughter. Loved a man. 829 00:31:57,120 --> 00:32:00,000 My father had a daughter. Loved a man. 830 00:32:00,000 --> 00:32:00,160 My father had a daughter. Loved a man. 831 00:32:05,080 --> 00:32:07,840 When this project came along, All Is True, which we did together 832 00:32:07,880 --> 00:32:08,000 where you played my missus as Shakespeare... 833 00:32:08,000 --> 00:32:11,080 where you played my missus as Shakespeare... 834 00:32:12,960 --> 00:32:15,800 ..did you feel as though you knew the woman or had a sense of 835 00:32:15,840 --> 00:32:16,000 who she might be? I don't think I did. 836 00:32:16,000 --> 00:32:17,840 who she might be? I don't think I did. 837 00:32:18,840 --> 00:32:22,040 I knew all about the family and everything 838 00:32:22,080 --> 00:32:24,000 and their environment 839 00:32:24,000 --> 00:32:25,240 and their environment 840 00:32:25,280 --> 00:32:29,720 and exactly the kind of place they were in. 841 00:32:31,720 --> 00:32:32,000 'All Is True, directed by Ken, is an imagined account 842 00:32:32,000 --> 00:32:35,200 'All Is True, directed by Ken, is an imagined account 843 00:32:35,240 --> 00:32:38,200 of how Shakespeare's later life might have been. 844 00:32:40,160 --> 00:32:43,720 'In this scene, the bard has returned to his family home 845 00:32:43,760 --> 00:32:46,320 after a long career in London, 846 00:32:46,360 --> 00:32:48,000 an absentee father and husband, 847 00:32:48,000 --> 00:32:49,520 an absentee father and husband, 848 00:32:49,560 --> 00:32:51,960 unaware of how disconnected he has become.' 849 00:32:52,880 --> 00:32:54,800 Goodnight husband. 850 00:32:56,120 --> 00:32:58,120 Twenty years, Will. 851 00:32:59,080 --> 00:33:01,400 We've seen you less and less. 852 00:33:03,120 --> 00:33:04,000 To us, you're a guest. 853 00:33:04,000 --> 00:33:05,120 To us, you're a guest. 854 00:33:06,520 --> 00:33:09,600 And a guest must have the best bed. 855 00:33:09,640 --> 00:33:11,640 Rest well. 856 00:33:13,520 --> 00:33:16,840 For me, it was really a wonderful pleasure and a privilege, 857 00:33:16,880 --> 00:33:20,000 really, to try and play an imagined version of Shakespeare. 858 00:33:20,000 --> 00:33:20,720 really, to try and play an imagined version of Shakespeare. 859 00:33:20,760 --> 00:33:22,800 Ben Elton's terrific screenplay. 860 00:33:24,320 --> 00:33:26,880 'The real joy of the film, for me, 861 00:33:26,920 --> 00:33:28,000 are the imagined conversations that Shakespeare might have had.' 862 00:33:28,000 --> 00:33:30,480 are the imagined conversations that Shakespeare might have had.' 863 00:33:31,720 --> 00:33:34,280 There is no corner of this world 864 00:33:34,320 --> 00:33:36,000 you have not explored, no geography of the soul, 865 00:33:36,000 --> 00:33:38,040 you have not explored, no geography of the soul, 866 00:33:38,080 --> 00:33:40,080 which you cannot navigate. 867 00:33:41,480 --> 00:33:43,760 How? 868 00:33:43,800 --> 00:33:44,000 If you want to be a writer and speak to others and for others... 869 00:33:44,000 --> 00:33:47,880 If you want to be a writer and speak to others and for others... 870 00:33:49,200 --> 00:33:51,200 ..speak first for yourself. 871 00:33:52,280 --> 00:33:54,680 Search within. 872 00:33:56,080 --> 00:33:58,960 For me, something that stamps him as a genius 873 00:33:59,000 --> 00:34:00,000 is his capacity to understand what we might call, 874 00:34:00,000 --> 00:34:01,920 is his capacity to understand what we might call, 875 00:34:01,960 --> 00:34:04,480 and I think you never can call it, 'the ordinary'. 876 00:34:04,520 --> 00:34:06,840 The ordinary is always extraordinary. 877 00:34:06,880 --> 00:34:08,000 Quite. Yeah. 878 00:34:08,000 --> 00:34:08,440 Quite. Yeah. 879 00:34:08,480 --> 00:34:14,200 To bring down to a line which contains all... 880 00:34:15,800 --> 00:34:16,000 ..all that... 881 00:34:16,000 --> 00:34:17,440 ..all that... 882 00:34:17,480 --> 00:34:21,320 not emotion, all that, all that intensity, that one might, 883 00:34:21,360 --> 00:34:23,440 that everybody... 884 00:34:23,480 --> 00:34:24,000 Well, that a lot of people experience in different ways. 885 00:34:24,000 --> 00:34:27,600 Well, that a lot of people experience in different ways. 886 00:34:27,640 --> 00:34:30,240 He somehow distilled it, didn't he. Distilled it. 887 00:34:30,280 --> 00:34:32,000 And when we can't find words, 888 00:34:32,000 --> 00:34:32,520 And when we can't find words, 889 00:34:32,560 --> 00:34:35,560 we can find this poetry... 890 00:34:35,600 --> 00:34:40,000 That's true...that goes beyond the baldly literate, or literal. 891 00:34:40,000 --> 00:34:41,480 That's true...that goes beyond the baldly literate, or literal. 892 00:34:41,520 --> 00:34:45,240 A good friend of mine, alas, lost his papa a little while ago, 893 00:34:45,280 --> 00:34:47,240 and I could see he was, um, 894 00:34:47,280 --> 00:34:48,000 you know, he was as affected as people are. 895 00:34:48,000 --> 00:34:49,720 you know, he was as affected as people are. 896 00:34:49,760 --> 00:34:51,680 You know, your dad's your dad. And he loved him. 897 00:34:51,720 --> 00:34:53,960 And he said, I don't know what to say at the funeral. 898 00:34:54,000 --> 00:34:56,000 And I said, "For what it's worth, there's this line from Hamlet, 899 00:34:56,000 --> 00:34:57,480 And I said, "For what it's worth, there's this line from Hamlet, 900 00:34:57,520 --> 00:35:01,240 I found I couldn't speak about my father much." 901 00:35:01,280 --> 00:35:03,280 It was... 902 00:35:10,160 --> 00:35:12,000 (TEARFULLY) You know, it just becomes...t becomes too much. 903 00:35:12,000 --> 00:35:13,200 (TEARFULLY) You know, it just becomes...t becomes too much. 904 00:35:13,240 --> 00:35:17,720 And I said, uh, I said, um, so there's this line in Hamlet 905 00:35:17,760 --> 00:35:20,000 where he simply says, uh, you know, "Methinks I saw my father. 906 00:35:20,000 --> 00:35:22,240 where he simply says, uh, you know, "Methinks I saw my father. 907 00:35:22,280 --> 00:35:26,360 I saw him once. He, uh... he was a goodly king." 908 00:35:26,400 --> 00:35:28,000 And Hamlet says, "He was a man. 909 00:35:28,000 --> 00:35:29,720 And Hamlet says, "He was a man. 910 00:35:29,760 --> 00:35:32,600 Take him for all in all. 911 00:35:32,640 --> 00:35:34,960 I shall not look upon his like again." 912 00:35:37,040 --> 00:35:40,800 And it was a big help to this lad whose dad had passed. 913 00:35:40,840 --> 00:35:43,360 And I remember thinking, well, thanks, Shakespeare, for that. 914 00:35:43,400 --> 00:35:44,000 And also there's a bit of comfort to someone. It was solace. 915 00:35:44,000 --> 00:35:46,200 And also there's a bit of comfort to someone. It was solace. 916 00:35:46,240 --> 00:35:49,040 It was comfort. It put some... It puts something into words. 917 00:35:49,080 --> 00:35:52,000 It began a process because we know that grief is so...challenging. 918 00:35:52,000 --> 00:35:53,280 It began a process because we know that grief is so...challenging. 919 00:36:00,480 --> 00:36:03,160 'Michael and I bought this house and together, 920 00:36:03,200 --> 00:36:04,800 with our daughter Finty, 921 00:36:04,840 --> 00:36:08,000 we decided to dedicate trees in the garden 922 00:36:08,000 --> 00:36:09,080 we decided to dedicate trees in the garden 923 00:36:09,120 --> 00:36:11,160 to our friends who are no longer with us.' 924 00:36:13,720 --> 00:36:16,000 That is Mags's tree. Aw. 925 00:36:16,000 --> 00:36:17,200 That is Mags's tree. Aw. 926 00:36:17,240 --> 00:36:19,640 Crabapple. (CHUCKLES) (LAUGHS) 927 00:36:19,680 --> 00:36:22,440 Plenty of them as well. And it had. It's only... 928 00:36:22,480 --> 00:36:24,000 Well, I don't know if it's got... Can you see if it's got fruit on it? 929 00:36:24,000 --> 00:36:25,160 Well, I don't know if it's got... Can you see if it's got fruit on it? 930 00:36:25,200 --> 00:36:27,120 Has it got fruit on it? You're telling me... 931 00:36:27,160 --> 00:36:30,040 It's feckin and fertile. Well, it had nothing until 932 00:36:30,080 --> 00:36:32,000 the day of her memorial. 933 00:36:32,000 --> 00:36:33,840 the day of her memorial. 934 00:36:33,880 --> 00:36:35,560 A kind of funeral. 935 00:36:35,600 --> 00:36:38,120 And it had one, and I put it in my pocket. 936 00:36:38,160 --> 00:36:40,000 And she's at the front door, but she can see everybody coming and going. 937 00:36:40,000 --> 00:36:41,720 And she's at the front door, but she can see everybody coming and going. 938 00:36:41,760 --> 00:36:43,760 She's watching. She's watching... 939 00:36:44,960 --> 00:36:47,080 My God Has A Telephone 940 00:36:54,640 --> 00:36:56,000 Michael Benthall... Michael Benthall. 941 00:36:56,000 --> 00:36:56,720 Michael Benthall... Michael Benthall. 942 00:36:56,760 --> 00:36:59,680 ..who I owe, well, all my career too. 943 00:37:01,000 --> 00:37:02,680 Kept me on at the Vic. 944 00:37:02,720 --> 00:37:04,000 Good on him, a man...a man of most excellent fancy, of infinite jest. 945 00:37:04,000 --> 00:37:08,360 Good on him, a man...a man of most excellent fancy, of infinite jest. 946 00:37:08,400 --> 00:37:12,000 Of infinite jest.He had borne me on his back a thousand times. 947 00:37:12,000 --> 00:37:12,280 Of infinite jest.He had borne me on his back a thousand times. 948 00:37:14,960 --> 00:37:18,040 We can go up here. A lot of people you'll know here. 949 00:37:22,440 --> 00:37:24,440 There's Gambon and... 950 00:37:25,640 --> 00:37:28,000 Bill Kenwright. Bill Kenwright, Peter Hall as well. 951 00:37:28,000 --> 00:37:29,160 Bill Kenwright. Bill Kenwright, Peter Hall as well. 952 00:37:29,200 --> 00:37:33,640 Yes. And here, if you come down here to the orchard... 953 00:37:33,680 --> 00:37:35,920 Mm-hm. ..Sir John is over there. 954 00:37:35,960 --> 00:37:36,000 Sir John's over there. 955 00:37:36,000 --> 00:37:38,440 Sir John's over there. 956 00:37:38,480 --> 00:37:42,360 957 00:37:42,400 --> 00:37:44,000 958 00:37:44,000 --> 00:37:47,040 959 00:37:48,320 --> 00:37:49,960 I remember Dickie Briars. 960 00:37:50,000 --> 00:37:52,000 Richard Briars of this parish, 961 00:37:52,000 --> 00:37:52,360 Richard Briars of this parish, 962 00:37:52,400 --> 00:37:56,440 we're in the dressing room at the Tokyo Globe Theatre, 963 00:37:56,480 --> 00:37:58,400 and it was a Wednesday matinee, and it was raining 964 00:37:58,440 --> 00:38:00,000 and we'd been on the road for quite some time, 965 00:38:00,000 --> 00:38:01,400 and we'd been on the road for quite some time, 966 00:38:01,440 --> 00:38:03,760 and the call came through it said, 967 00:38:03,800 --> 00:38:08,000 "Mr. Briars, this is your beginner's call for Shakespeare's King Lear." 968 00:38:08,000 --> 00:38:09,480 "Mr. Briars, this is your beginner's call for Shakespeare's King Lear." 969 00:38:09,520 --> 00:38:12,600 And then very slowly, very deliberately, he turns to me 970 00:38:12,640 --> 00:38:15,160 and he says... 971 00:38:15,200 --> 00:38:16,000 "I fucking hate acting." (BOTH LAUGH) 972 00:38:16,000 --> 00:38:18,840 "I fucking hate acting." (BOTH LAUGH) 973 00:38:20,560 --> 00:38:23,360 I said, "Well, why do you hate it? Why do you hate it, Dick?" 974 00:38:23,400 --> 00:38:24,000 He said, "Well, it isn't any kind of job for a grown man," he said. 975 00:38:24,000 --> 00:38:27,040 He said, "Well, it isn't any kind of job for a grown man," he said. 976 00:38:27,080 --> 00:38:29,840 I said, "Why not? He said, "Well, you're just standing 977 00:38:29,880 --> 00:38:32,000 on a platform in tights shouting. 978 00:38:32,000 --> 00:38:33,440 on a platform in tights shouting. 979 00:38:33,480 --> 00:38:35,840 What's the fucking point?" (LAUGHS) 980 00:38:35,880 --> 00:38:38,640 What... (LAUGHS) 981 00:38:38,680 --> 00:38:40,000 So we've spent...we've spent a life standing on platforms 982 00:38:40,000 --> 00:38:42,160 So we've spent...we've spent a life standing on platforms 983 00:38:42,200 --> 00:38:44,160 in tights shouting, Judi. 984 00:38:44,200 --> 00:38:46,160 That's all we do. That's all we do. 985 00:38:46,200 --> 00:38:48,000 But it's better than working, isn't it?Quite. 986 00:38:48,000 --> 00:38:49,200 But it's better than working, isn't it?Quite. 987 00:38:49,240 --> 00:38:51,920 And you do it with a few mates. 988 00:39:03,360 --> 00:39:04,000 (RECORD CRACKLING) 989 00:39:04,000 --> 00:39:05,360 (RECORD CRACKLING) 990 00:39:05,400 --> 00:39:08,000 All the world's a stage. 991 00:39:08,040 --> 00:39:11,360 And all the men and women merely players. 992 00:39:11,400 --> 00:39:12,000 They have their exits and their entrances. 993 00:39:12,000 --> 00:39:14,440 They have their exits and their entrances. 994 00:39:14,480 --> 00:39:17,600 And one man in his time plays many parts, 995 00:39:17,640 --> 00:39:20,000 his acts being seven ages. 996 00:39:20,000 --> 00:39:20,280 his acts being seven ages. 997 00:39:20,320 --> 00:39:22,240 At first the infant... 998 00:39:22,280 --> 00:39:25,360 Did you have a choice of wanting to do something else? 999 00:39:25,400 --> 00:39:27,000 No, I couldn't do anything else. 1000 00:39:27,040 --> 00:39:28,000 My career choices as put to me by the very nice people 1001 00:39:28,000 --> 00:39:30,560 My career choices as put to me by the very nice people 1002 00:39:30,600 --> 00:39:33,080 who were trying to look after us as we left school were... 1003 00:39:33,120 --> 00:39:36,000 There's the insurance company, there's British Rail 1004 00:39:36,000 --> 00:39:36,480 There's the insurance company, there's British Rail 1005 00:39:36,520 --> 00:39:38,640 and there's the Army. 1006 00:39:38,680 --> 00:39:41,880 I didn't have any particular issue with any of those things, 1007 00:39:41,920 --> 00:39:44,000 but just I knew they were not me in any way, shape or form. 1008 00:39:44,000 --> 00:39:45,120 but just I knew they were not me in any way, shape or form. 1009 00:39:45,160 --> 00:39:47,120 But I knew that... 1010 00:39:48,600 --> 00:39:52,000 when...engaged with this curious business of imagining, 1011 00:39:52,000 --> 00:39:54,440 when...engaged with this curious business of imagining, 1012 00:39:55,440 --> 00:39:58,360 I was very, very, very much at home. 1013 00:39:58,400 --> 00:40:00,000 I enjoyed something I've always noticed in what you do, 1014 00:40:00,000 --> 00:40:02,200 I enjoyed something I've always noticed in what you do, 1015 00:40:02,240 --> 00:40:05,360 a playful quality, and it's especially in the theatre, 1016 00:40:05,400 --> 00:40:08,000 but sometimes in film as well. You're trying to catch lightning in a bottle. 1017 00:40:08,000 --> 00:40:08,680 but sometimes in film as well. You're trying to catch lightning in a bottle. 1018 00:40:08,720 --> 00:40:12,240 Yes, that's why film is so tricky, isn't it? 1019 00:40:12,280 --> 00:40:14,760 Because once you've done and you think, "Oh..." 1020 00:40:14,800 --> 00:40:16,000 When you see it you think, "Oh, no, that's not... 1021 00:40:16,000 --> 00:40:17,560 When you see it you think, "Oh, no, that's not... 1022 00:40:17,600 --> 00:40:20,440 That wasn't it at all." Yeah, well... 1023 00:40:20,480 --> 00:40:23,720 But that's what's so lovely about the theatre, you know. 1024 00:40:23,760 --> 00:40:24,000 Well, the audience don't realise what a huge part they play in it. 1025 00:40:24,000 --> 00:40:27,120 Well, the audience don't realise what a huge part they play in it. 1026 00:40:27,160 --> 00:40:29,720 Huge. They... Yeah... Yeah. 1027 00:40:29,760 --> 00:40:32,000 They teach you about it. They do teach you about it. 1028 00:40:32,000 --> 00:40:32,080 They teach you about it. They do teach you about it. 1029 00:40:32,120 --> 00:40:34,960 I feel these days in the theatre, the atmosphere is special 1030 00:40:35,000 --> 00:40:37,280 because people don't do it quite so much anymore 1031 00:40:37,320 --> 00:40:39,360 and they value it differently. 1032 00:40:39,400 --> 00:40:40,000 I think that's true. I think that's very, very true. 1033 00:40:40,000 --> 00:40:43,720 I think that's true. I think that's very, very true. 1034 00:40:43,760 --> 00:40:46,200 So I reckon we ought to keep going. That's what I reckon. 1035 00:40:46,240 --> 00:40:48,000 (SCOFFS)I reckon...I reckon... I reckon we ought to keep going. 1036 00:40:48,000 --> 00:40:50,240 (SCOFFS)I reckon...I reckon... I reckon we ought to keep going. 1037 00:40:50,280 --> 00:40:52,280 (NOSTALGIC PIANO MUSIC) 1038 00:40:58,080 --> 00:41:02,000 GIELGUD: (ON RECORD) Full of wise saws and modern instances. 1039 00:41:02,040 --> 00:41:04,000 And so he plays his part. 1040 00:41:04,000 --> 00:41:04,760 And so he plays his part. 1041 00:41:04,800 --> 00:41:08,880 The Sixth Age shifts into the lean and slippered pantaloon, 1042 00:41:08,920 --> 00:41:12,000 with spectacles on nose and pouch on side.(BOTH SPEAK ALONG) 1043 00:41:12,000 --> 00:41:12,640 with spectacles on nose and pouch on side.(BOTH SPEAK ALONG) 1044 00:41:12,680 --> 00:41:18,160 His youthful hose well saved a world too wide for his shrunk shank. 1045 00:41:18,200 --> 00:41:20,000 Crikey... His big manly voice 1046 00:41:20,000 --> 00:41:20,960 Crikey... His big manly voice 1047 00:41:21,000 --> 00:41:23,720 turning again toward childish treble, 1048 00:41:23,760 --> 00:41:26,600 pipes and whistles in his sound. 1049 00:41:27,760 --> 00:41:28,000 Last scene of all that ends this strange, eventful history 1050 00:41:28,000 --> 00:41:33,160 Last scene of all that ends this strange, eventful history 1051 00:41:33,200 --> 00:41:36,000 is second childishness and mere oblivion. 1052 00:41:36,000 --> 00:41:37,760 is second childishness and mere oblivion. 1053 00:41:38,920 --> 00:41:41,040 Sans teeth...Yellow. 1054 00:41:41,080 --> 00:41:44,000 Sans eyes. Sans taste. 1055 00:41:44,000 --> 00:41:45,000 Sans eyes. Sans taste. 1056 00:41:45,040 --> 00:41:47,480 Sans everything. 1057 00:41:49,280 --> 00:41:51,520 Bit gloomy, isn't he? (CHUCKLES) 1058 00:41:54,680 --> 00:41:56,600 1059 00:41:56,640 --> 00:41:58,760 When you're young 1060 00:42:01,800 --> 00:42:04,600 1061 00:42:04,640 --> 00:42:06,640 I've been-I've been asked... Are you going? 1062 00:42:06,680 --> 00:42:08,000 Asked to get me going? (LAUGHS) 1063 00:42:08,000 --> 00:42:09,360 Asked to get me going? (LAUGHS) 1064 00:42:09,400 --> 00:42:12,520 (MAN SPEAKS INDISTINCTLY) I thought that was you. 1065 00:42:12,560 --> 00:42:16,000 I thought... I've been asked to get you going. 1066 00:42:16,000 --> 00:42:16,280 I thought... I've been asked to get you going. 1067 00:42:16,320 --> 00:42:18,120 (BOTH LAUGH) 1068 00:42:18,160 --> 00:42:20,880 You are never done 1069 00:42:24,360 --> 00:42:27,760 1070 00:42:27,800 --> 00:42:30,960 We took her out a couple of summers ago 1071 00:42:31,000 --> 00:42:32,000 in a little travelling cage, sitting on top. 1072 00:42:32,000 --> 00:42:33,400 in a little travelling cage, sitting on top. 1073 00:42:33,440 --> 00:42:36,200 Suddenly she said, and she's never said it before or since, 1074 00:42:36,240 --> 00:42:38,440 she said... 1075 00:42:38,480 --> 00:42:40,000 "Boris Johnson." (LAUGHS) 1076 00:42:40,000 --> 00:42:40,480 "Boris Johnson." (LAUGHS) 1077 00:42:41,440 --> 00:42:43,880 (CHIRRUPS) 1078 00:42:43,920 --> 00:42:46,520 And understanding 1079 00:42:49,240 --> 00:42:54,080 By the maker 1080 00:42:56,800 --> 00:42:59,040 1081 00:42:59,960 --> 00:43:03,000 Subtitles by Sky Access Services www.skyaccessibility.sky