you know come up with all kinds of
creative ideas as to as to how to make
it happen so that this place would be
full for once and I think we got it
before we move on to to welcoming our
guest which should be very very shortly
let me find out whether we need to do it
bilingually or just in well we'll choose
the language in Ossipee Oh Bettina Sally
yes the new Anglo means each nail in
Appalachia Maga will be too much Anya is
he gonna is presence Angus he gonna
Polsky Russ devar say Terry pinch pinch
is the issues a minimum we spin je
chante yeah that was artistic egos just
NASA go spot Kenya's go see mr. branch
only to be sure to match any previous
rep Cisco shiva puja or oh stop pretend
it's a music plays - come on ribbit
rubbish machine technology
well that was a does this work yes maybe
no I think you should test yours no we
have the mics working well let's try the
handheld maybe mics there's always one
one what this may work there is probably
no good reason as to why I should need
to introduce our guest but just to
fulfill official requirements let me say
that I'm sure you've seen him in dozens
of films television programs everything
from romantic leads in such films as
truly madly deeply or Sense and
Sensibility to some of the greatest
villains ever in film from die hard to
the Sheriff of Nottingham in Robin Hood
he was also respond on television he
also played in a series that you may
have heard about called Harry Potter and
not not to mention that he also played
Ronald Reagan in in the butler he's a
television star as well he directed in
the theater he directed two films in
1997 he directed winter guests and now
the film a little chaos that you just
saw and last but not least he is
consistently mentioned as one of the 100
sexiest movie stars ever by the Empire
magazine
mr. Ehrlichman
I think they know you they're all so
young well try both one of them works
hello hello I think yours works out
really well we this may all work I'm
sure there are going to be plenty of
questions from the audience in order to
expedite the seminar we will conduct it
in English only and those of you who
speak some other languages but not
English I'm sure that if you lean to
your left or to your right you're going
to find someone who will clue you in as
to what we are talking about I will
permit myself to ask the first question
and then it'll be a free-for-all please
raise your hands and and then patiently
wait I'll be showing you whether you are
first second or third or so on in in
line but we are welcoming you here in
numerous roles yesterday you received
the crucification offski award which is
for acting today we saw you as an actor
playing the character of louis xiv
but also you're here as a director with
only the second film that you directed
ever and i'm curious about that part as
to what 17 years after you made your
first film as a director compels you to
stand not in front but behind the camera
well something else got in the way for
10 years and what might that be
one thing you learn is that in order to
direct a film you have to have at least
a year of available or maybe a year and
a half and and in this case nearly two
now but when we started harry potter
there were only three books written so I
didn't know what was going to happen and
then 10 11 years down the line I'm still
there but and only seven weeks of the
year was I shooting it but that's still
enough not to be able to direct it
though I directed in the theater in the
meantime and you know did plays and
stuff but the first film that I
mentioned that you directed winter
guests first you directed onstage and
then you made a film version of it here
it was from an already existing
screenplay as I understand it but you
did not star in winter guest here you
have a very prominent role how is it to
direct yourself well it's impossible and
not advisable and I wouldn't have done
it were it not for the producers saying
it's an economic necessity I really had
no choice
fortunately he doesn't appear in it that
often and and secondly if you're playing
louis xiv you stand pretty still so
everybody comes to you and they listen
to you no doubt well let's open it up to
questions from the audience
anything and everything that you've
always wanted to know from this very
special guest of ours yes please
um you have to be allowed he allowed you
let's switch mine works I hope so
I don't really know at this point in
time this one is just about to emerge
and and there'll be a lot of work and
hopefully a lot of rest afterwards and
if you write good tweets about this
movie if you just spread the word it'll
be easier for him to make the next film
I'm sure other questions please push him
up and down yeah it's right there the
writer hopes so at the very end at the
top please
I don't I don't have any more interest
in the court of Louis the fourteenth
than in many other subjects it's that
wasn't that's the background to me the
the interest to me was I suppose the
sexual politics of men and women and
male control and women in a society
where they have not really many options
except to be decorative and and also it
says three screenwriters actually all of
the dialogue is from Allison Deakin and
the whole initial concept is hers
Jeremy and I are just kind of interfered
along the way in a structural sense but
I don't know how it translates but in
English it's beautiful writing yes
please
ah well I kind of always near advocate
and it was just a case of when she would
be free of the good news about waiting
to direct the film is that even five
years ago she would have been too young
to play it you know she's got to be
believably a professional woman whether
a past and a six-year-old daughter
so once Kate was there then you've kind
of the England like Poland like
everywhere is filled with wonderful
actors they just have to be asked and
given the opportunity as an actor I'm
not really interested in their IMDB
score but I will jump in right here
because Kate Winslet is someone with
whom you starred in Sense and
Sensibility and I'm wondering whether
there are any there were any connections
between the work that you did together
back then and say I don't know the the
garden scene here where you pretend to
be to be the gardener kind of a wink to
the audience well of course it means
that you know a sense of sensibility was
Kate's first big big for the film she
was 19 years old and and you know we had
to develop a close relationship in bad
so there's a huge amount of trust even
though of course to meet a 37 year old
woman it's like a whole different human
being with children and lives and stuff
going on and not to mention the fact
that two weeks into shooting she
announced in ya know that she was nine
weeks pregnant which is a bit scary
because I knew that she was gonna have
to be thrown into water at one o'clock
in the morning somewhere down the line
but anyway she said I have easy
pregnancies it's okay
so you didn't have to change anything at
all to accommodate her no because thank
God for corsets that poor child was
roped in yeah it means there's a lot of
trust and so it's quite a long scene in
the garden with the rose and made even
longer by the fact that I don't think
any take we didn't get through more than
20 seconds before an aeroplane came over
because it's one of the problems of
filming in England is you're very near a
flight path or a motorway so it meant
that Bezeq kind of if the trust is there
then a concentration is there and we
were able to keep it going
other questions yes please I don't watch
them so I don't know the thing is that
you know you may you see a movie and
it's what two hours or something of your
life and to me it's I don't know six
weeks eight weeks two months something
and it's a bunch of people and it's
somewhere in the world and so I remember
where I was and who I was with and
laughing and eating and having a good
time the film I don't remember so much
but do you prefer to play romantic lead
say on the one hand or a villains on the
other I don't really put labels to any
part that I get involved in because I
think if you do that then you're already
judging them you know they're just
people to me good feelings yes
other than what you said before and now
don't suppose everybody heard the
question the question has to do with
what prompted mr. Rickman to stand
behind the camera again 17 years after
he made his previous film it's always
the writing that makes you say yes to
anything whether it's to be in something
or to direct something and remember that
I've been directing in the theater
during that period as well so it's it's
not as if I haven't been directing it's
just a shift of locale and and a bit
more money question on the left there
I think I've read every director
probably tell you the same you know it's
it's all about obstacles the moments of
freedom are glorious and mostly it's
about how do you dodge the obstacles
it's certainly as I said in England the
flight paths the motorways the weather
um you know there's a scene in the film
where Mattias finds the glove and Louise
under a canopy that's real rain and it's
not pretend and it was a question of
that scene of coming up with a way to
shoot the scene so thank goodness for
production designers who say well I've
got this bit of old sacking we can put
it over louis xiv and you know always
budget and how much money so at Blenheim
Palace we had three days and the
producer said we cannot go over three
days in Blenheim Palace for the scenes
that we shot there that whole dance
sequence at the end the whole discovery
of the finished fountain I think we had
three days and one day was rained off so
that's just two days yesterday while
accepting the Gustav Sookie award you
were very grateful towards the DP on
this picture and then chorus I'm
wondering how you found her in terms of
connecting professionally and from your
angle
what exactly was her contribution to the
finished film that we saw today well if
I tell you that Alan and I travelled in
to the set every day together and talked
about whatever scene we were going to
shoot you know any of you who are
studying
I advise it it's a good use of the
drive-in because you get a lot of stuff
done and of course if I'm in the film as
well I rely on her enormous Lee her in
the first ad
she's I wish she were here now and then
you'd see why I would rely on her so
much because she's an absolute captain
of the ship incredible energy and
indefatigable and a leader and and very
adaptable in fact a lot of this film I
think is probably a little alien to her
style
I saw as maybe some of you have Eternal
Sunshine of the spotless mind and I
think Ellen's go-to position would be
with the camera on her shoulder and very
freeform and this film asked for her to
be very controlled most of the time did
you know her before she became a part of
theof the team here no I didn't talk to
me about her and I met her in New York
and and that was it done deal when I met
her how did she convince him what did
she say
she brought in a book of photographs
I'm gonna fix Alim and I have remembered
Salomon's are very interesting American
photographer who's taken some pretty
controversial photographs of her
children and and it was her talking
about how to deal with images of capes
dead builder in the film as a question
here somewhere yes please
as the perception of the film changed
since it played around at the festivals
and I guess it did it it played it a
number of different places this is only
the third time that it's been seen
anywhere really so I I don't really have
a great sense of that you know I'm still
protective of it and still it's only
just been you know - its distribution
agreed in America and everywhere so I'm
still curious really to listen to an
audience listening to a film question at
the very top what directors or films
have most influenced your work as a
director well I think if you if you
spend most of your life as an actor you
learn from every single director you've
worked with you watch them you listen to
them you you also I suppose as an actor
you're going to adjust your way of
working because you're an actor it was
interesting to me that Kate said she's
not used to being asked for her opinion
and of course to me it's very important
that certainly rehearsal time is catered
for and and that one constantly asks the
actors what they think then I think yeah
I mean you know if there's one thing
that I'm really proud of in the film
it's the fact that the actors are all
listening to each other
um so I've been very fortunate I've
worked with some wonderful directors
let's gender one of them which is one of
your jury members and he was watching
the film this afternoon I bumped into
him Raja Raja Spottiswoode we had an
extraordinary time working together on
mesma and that of course turned into an
incredibly controversial film so but
it's a source of huge pride to me so um
I what about my I admire directors
courage as much as anything else
question right here the script I don't
know I open you know you start on page
one and if you keep turning the pages
that's good and if you make it to the
end you think that's even better and
yeah to be absolutely truthful that the
point is that if our images start to
jump around as you're reading a script
then I think maybe I have some other
role in this film because pictures are
starting to happen and that's probably
to do with having an art school
background lady here the question was
what is more difficult to be an actor or
to be a director I think about both jobs
as being either easy or difficult
depending on the time of day or the
circumstances are one of the great
things about directing a film is you
discover that you are surrounded by an
incredible support team that you rely on
sometimes as an actor you feel
incredibly alone I don't I don't know
that I ever felt incredibly alone as a
director because I could always turn to
somebody and say what did you think I
don't know they're both great jobs
they're both sometimes pleasant jobs and
easy jobs they're both sometimes really
difficult it's a question at the top
what kind of question well I will say
that a little earlier this afternoon we
had Stephen Daldry here who directed her
in the reader and that of course is a
very revealing performance not quite the
corsets that you were referring to here
well I mean I'd have to say that's a
very sexist question and not exactly
flattering to Kate's intelligence
I'm sure that she doesn't edit anything
she comes incredibly well-prepared to
the set she's an absolute goldmine of
preparation and honesty and not judging
her characters she will do whatever is
necessary for a part to be relevant and
truthful - right here I'm sure there's
quite a few directors in my past who
said I interfered anyway so no you know
that's not my job my job is to if I'm
acting and I'm just there the other
thing about an actor is you and that's
the problem about our acting and
directing at the same time I think an
actor should be on the front foot and a
bit like an animal you have to have your
instincts available a director probably
to generalize has to be on the back foot
watching the two things are not very
compatible this right here
being asked about a short film called
dust which I'm sure that you're the only
person in this room that's seen sir what
do you mean what is it about it ought to
be pretty clear I think it's about dust
matter and let me ask you what do you
think it's about
well it's our you know I'm I'm a great
admirer of an ambiguity in films and and
hopefully it tests the audience's
responses they think it's going one way
and then it's going another so it's I
think in many ways the writer wants to
tell you things are not always what they
seem to be in the middle
in this film or in general um yeah at
the right at the beginning that gas has
said to me okay this is like a marriage
with all that's perhaps good and bad
about that it's very I think it's a very
difficult relationship because you have
to give your editor some freedom but you
have to make sure that it's your film I
think and so there are times when it
becomes not confrontational but you have
to stand up for what you believe but
also the editor has to feel freedom to
try things and then you have to try to
be open enough to accept them and some
of them are quite difficult to what to
watch I don't think there are any
general rules because it's about two
human beings and it's going to be
different every single time but I hope
to grow up enough one day to be able to
walk away from the editing room and let
the other two get on with it for a week
rather than you know rattling the door
and saying what are you up to in there
well I I think a lot of the time you
know acting in my experience can be
actors taken it intends to speak here's
my data now after when you finished
talking I'll do my bit again I think
that there you know I could point to
moments in the editing experience where
the power of Kate's listening is so
strong that you want to keep the camera
on the person listening because part of
the story is watching somebody grow and
change and you only get to understand
that by watching her hear other people
speak so I suppose I would always define
acting actually as active listening you
only speak because of what you've just
heard somebody say so what you what you
say as an act is as to be because you
have to speak if it's the result of you
having stood in front of your mirror and
rehearsed it perfectly then it's not
going to have any drive to it there
won't be any thought behind it it'll be
a collection of you know this is how we
act
or this is what I thought about this
speech and it's gonna be slightly dead
in the water if you get people to only
focus on what they're hearing and not
what they're saying some wonderful
things happen in that sense how is
cinema different from theatre to you not
at all same thing yes I would say to
answer that actually I think our having
worked on film has helped me to act on
stage rather than the other way round
because I've learned - well the grave
you know the great time
great belief of mine had other people
that less is more and and that actually
you can stand still on a stage and think
and it will it will register will I be
returning to the stage oh well I I hope
so you know I've had to say no to
everything I've been asked to do because
of traveling with this film until the
spring I guess when it comes out then I
can think about it again but you need a
lot of stamina you need a different kind
of stamina on stage eight shows a week
three hours and you can't do anything
during the day you know everything is
geared towards 8 o'clock at night and
then maybe you're doing it for six
months so you have to remember what your
body has to go through it's very
different with film because as much as
you might engage are a huge emotional
canvas you it when they call cut and
moving on it's finished you can let it
go it's not the same in the theatre with
several hands up I try to give
preference to those who have not yet
asked the question so that may have
changed the sequence a little bit the
lady by the wall please
well I was latesh who's looking after us
took it out and about this morning
that's the only time I've had what's not
that but I mean we are any effort like
two and a half days but of course I'm
curious I don't want to stay and I Hotel
all the time I much rather know where I
am so but some day is not a good day cuz
everything's closed in the middle no no
I know you know I've worked with
wonderful directors who would be
terrible terrible actors yeah doesn't
matter at all it just so happens that
there are fortunately now some actors
who are also directing the interesting
thing is that somehow or other in
America they allow them to act write
produce direct doesn't matter and
somehow or other in Europe people say so
you're doing this now and you're not
doing that so I say good for America to
get rid of the dividing lines gentlemen
but no you don't have to go and you
marry yeah thank you
let's wait with it or else we will have
everyone else thinking the same idea so
a little later we'll try to facilitate
that yes
um I are not gonna give you examples but
I hope that but I think humor is is
there to be found in almost every part
you play I'm saying to say you know when
I played Hamlet I got a lot of laughs
it's not impossible and that's not
that's not to just kind of you know find
gags the comedy of people laughing
because they recognize something about a
human being or they laugh in sympathy or
unnameable reasons why people are our
gold dust I think so it's it's not like
I think oh this is a funny row I think
they're all pretty funny if you're if
you're a human being you're potentially
hilarious some actors just have a
certain list of roles that they want to
play sooner or later
during their lifetimes be it you know
Hamlet Macbeth
King Lear a little later on do you have
any such roles that you are just dying
to play that you haven't had an
opportunity yet to play I think the list
has got rather short now no I think the
trouble with saying I want to play the x
part is it means you've already started
to make some decisions about it and I'd
much rather first of all I love new
writing and so you never know what
that's gonna contain and secondly other
people's imaginations are really rather
more interesting than my own and I'd
much rather come to a wrassle room
available and open not not already
knowing what I want to do are you right
here
not act and not direct to see the city
of bid gosh no doubt for a while yeah
near the top gentleman various yes you
what's the most interesting her well I
mean I I hope that I've found them all
interesting on some level otherwise they
wouldn't complicate complex intricate
that I think was the word I really do I
really do get involved in different ways
I would feel like I was being it was
sort of favoritism to pick anything out
I would I'd say however that I've played
a well including louis xiv now i've
played a few people who really existed
and that's quite a challenge because so
for example if you're playing ronald
break and for Eamon de Valera you know
half of the people who know anything
about either of those people hate them
or love them so you're you're standing
on a tightrope in terms of other
people's perceptions with somebody like
louis xiv two people come with all sorts
of preconceptions and as i said at the
beginning this film is not remotely
historically accurate you know if it had
been I would have not had to stand up or
dance in it at all because he couldn't
at that point he was in a bath chair
being wheeled around um but if you're
playing a real person you you have to
try to get rid of any judgments about
them you have to you become very
protective of them actually
in order to try to present somebody
clearly and cleanly so that other people
can make the judgments I remember when I
was rehearsing de Valera Anil Jordan
misses in the film of Michael Collins
Neil Jordan said to me when we had a
read-through he said so do you hate him
yet and that really made me put boxing
gloves on behalf of that character
because you know it would be no secret
and if Neil were here now he would tell
you the you know devil era is not
exactly his favorite character in
history in Irish history so you become
very protective of them and I think it's
similar with Ronald Reagan lady there
yes
since about rehearsals for film yeah
it's a controversial area of course
producers don't really understand what
rehearsal is for and so they don't want
to pay for it with a film like this I
think it's crucial we only had like 10
days maybe but at least you're able to
talk about language and the weight of it
and the tone of it and to discover maybe
things that could be cut because an
actor can make a thought a connection
much quicker by taking a line out so I
think you only discover those things
when you have a marketplace situation
when you're on the set the pressure is
so great but I know there are actors who
would say I can't stand rehearsing I
just want to do it and I do I don't want
to be I'm thinking about reproducing
something nor do I but I just think it's
a good place for everybody to well to
create a kind of democracy I suppose but
listen I mean there are so many yeah I
would have more but that's just
my taste
you know I'm absolutely not saying it
should be the rule book gentleman here
no it wasn't ready I'm being asked about
the relationship with the editor and
what it was like at the beginning well
one of the problems about acting and
directing a film at the same time is
that you have in my experience no time
to look at the rushes every day or pour
dailies or whatever word you want to use
and also no desire to that would be the
last thing I'd want to do at the end of
the days so when it came to watching his
rough assembly I'd had no conversation
with him at all he even shot a couple of
bits and pieces because you know I
couldn't get this piece of footage and
be in a scene so there's a couple of
bits and pieces that Nick actually shot
with me giving him you know a list of
what the shots were so for example the
scene towards the end of the film when
our Kate presents Louie xiv with the
rose and then he's standing there with
all his men and the women are that made
no sense whatsoever in the rough
assembly because Nick had no idea what
was going on with people's eyes and and
you know what the agenda was so there
was a lot of work to do
I remember him showing me the film which
at that point was 2 hours and 42 minutes
I think I think it's now 150 um and and
I watched this two-hour 40 minute thing
at the end of it the lights went up and
he said well you made a movie it's just
part of the process I'm sure different
if you're talking to the editor the
whole time then you know there's
something shared but he was working on
his own
are we going to see this long director's
cut on DVD one day ever was a lady at
the top please could you stand up and
speak a little louder please artists I
don't know work I don't know what Kate
looked out I mean I was I was looking at
all sorts of visual reference it wasn't
particularly painters it was interiors
and the the design office was like a
Museum of information and visual
reference but also it was a case of we
were using English interiors and then
working out they were they were 17th
century French either actual interiors
that have been brought over or they were
you know being adapted by a James the
production designer there wasn't much of
a trip to the Museum of paintings really
it was a it was a big field of reference
west from there on the sill we
I'm how important do I find the
relationship between actor and director
of course to me it's everything it's
what I understand
I hope it's evident in the film I that
the feelings and thoughts are
transmitted to you you don't get any of
that just with the camera work you know
there's something much more to do with
the actor and the conversation with the
director what are you thinking what are
you feeling what's happening here
talking about that and a lot of it's
silent
so you know it's a huge part of it to me
in terms of that collaboration there are
directors who are more hands-on they
more specifically tried to craft the
performance by the actor and then there
are those who simply give the actors
more of a free rein where do you fit as
an actor namely which do you prefer when
you act and is it the same way when you
direct someone else um I think I think
with this film I was probably quite
controlling because of its innate rhythm
and the less is more of it
and that please don't act just say it
think it so you know any overacting was
smacked quite early on not in a bad way
but no I think about if it's an
interesting question our I think the
writing itself made very specific
demands it's it's it's not naturalistic
English actually as much as it may sound
like it um it isn't is quite constructed
and and that means everybody has to land
on it in the same way otherwise we're
making part of their fighter from movies
yes please
um am i similar to any character I've
played uh well now we'll truly find out
who you are I mean the thing is you know
I've said it before but you know a
violinist has his Stradivarius or
whatever and he can put it in the case
and take it you know and lock it up at
the end of the day or at the end of the
concert this is what I have to work with
what's in here and what's in here and
and that's the sum of who I am and what
I think and who I was taught by and what
I believe and how that changes or
doesn't and so yeah I'm visible in all
of them somewhere these are my choices a
lot of the time or my willingness to be
led by another human being you know I I
am my own instrument he could have said
the rescue team but he did not well I
think there's a very interesting case in
point because of course Rasputin where
he is what I was saying up there about
arm playing people who really lived
Rasputin is a character who's mightily
misunderstood he's he's thought to be
this you know menacing mad creature in
fact where he alive now he'd have a very
successful practice in Harley Street or
whatever the Polish equivalent of that
is because what he was doing was
hypnotizing and nobody knew what that
was then they thought it was mad magic
now he'd be earning a lot of money
um these are things I don't know who
anybody knows work sir are being a
narrator um
I think or the if you're being a
narrator on a film you have to get
yourself out of it
you know you have to just be a channel
of information so um the good news is
that if you're a narrator you don't have
to learn it you can read it I don't
really know how to answer the question
you just have to be very clear and clean
and efficient ask in polish and then
we'll have it translated it was an
opportunity to create something
different from what you usually do or
just a job like any other
I dunno I was asked to do something and
I read it and I thought oh that looks
interesting and that week I was free and
so I did it a lot of actors narrate
things and you know it's part of the job
possibilities I guess you haven't done
it very often I I don't have a very
interesting answer to your question do
you have any urge to to give voice to to
say animals in animated films birds
maybe well I was a fish a very small
fish in that film in the middle yes that
question has already been asked pay
attention I like them both and I hate
them both actually this was a new answer
so if any of you want to ask any of the
questions again feel free to do so it's
a question right here
the question has to do with whether he
can still remember the audition pieces
for the real academy of the dramatic are
is going all the way back to his early
years I don't remember the words
but I do remember the audition pieces
yeah because you you're very aware that
this is a moment that might change your
life if you get accepted or refused you
know and I I'm very involved with the
Royal Academy still and feel for them
when they come in but you know I guess
it's the name of the game you decide you
want to do it so you're gonna have to
write it get judged and be accepted or
sly out um from day one really I do
remember my pieces yes but I don't
remember the words but they got him in
so she want to take notes we have about
ten minutes left at least within the
allotted time are there is a question in
the front row and there's a question on
the stairway and two questions up there
yes please
if you have a script right now bring it
here you're talking about scripts you
want to direct your scripts you've
written which well you have to do what
everybody does which is to send the
script to the agent of the director
you you just have to persevere honestly
you have to you know kick the doors down
keep leaving it at the agents door you
know every week
go in and leave it again question and
the stairway yes please
it's it's a it's a question of organize
what's the difference between directing
and theater and film well I think it's
it's a question of time organization
really you've got a lot of people
breathing down your neck if you're
directing a movie they want decisions
and the decisions are all based on a lot
of money it's a different kind of
control you you you know you you know
you have a period of our sort and you
know when you have to get it ready by so
it's you and the actors and then
there'll be a conversation with
designers of course going along at the
same time but the end result you can get
to in a more measured way I suppose um
but you never know quite what problems
are gonna get thrown at you or what
hurdles you're gonna have to jump over
but at least you're there from I don't
know say 10:00 in the morning till 6:00
at night and you're all involved and
it's only gonna take place in this one
room I mean it's kind of obvious really
that if you're you've got three days for
a major scene in a room at Blenheim
Palace and then the designers have to be
able to turn it round to look as if it's
two rooms and we've only got an hour to
do that turn around somehow or other you
have to organize your time so that
you're talking to the actors so
efficiently and getting them to hit a
mark and it's just a hugely different
set of agendas and and also maybe you
have to have made a lot of decisions
beforehand on film and maybe in the
theatre
you don't maybe you can discover stuff
much more as you go along it's you know
directing or acting is to some extent
you can predict what the job is and to
some extent it's very moment by moment
so there are there are moment by moment
discoveries that are thrilling and
depressing there are several questions
at the top first the gentleman who is
sitting there consistent and then I
didn't hear that they're on please stand
up and speak it loudly if you could
please I assume they'll all be tall he's
asking me if there are consistent
character traits you know I would always
look and hope to be surprised um
I don't you know it'd be wonderful not
to repeat oneself so the answer would be
no there's a lady near the camera yes
this you will have to ask tomorrow after
he spends another day in bed Russian his
polish gets a little better but the
question it was actually asked in Polish
as to whether you ever had some kind of
a role that proved to be particularly
challenging for you as an actor you know
your worst thing you're gonna get found
out
and you always hope that you're not
playing safe so if you decide that
trying to be truthful and and honest and
inventive and all of those words is the
way you want to go then you know it's
it's a challenging path to take
the lady at the very top well I'm not
sure what she was referring to but it's
either about teaching a lesson or
invoking emotions but with respect to
what our film the purpose of cinema and
the meaning of life we'll get to the
meaning of life in just a moment on the
room and pick up you know I don't know
whatever it is 300 different answers it
could be to entertain it could be to
escape it could be to inform it could be
to challenge I don't know I watched
Birdman last night and it did all of
those things often at the same time and
I think and I think it can annoy you and
it can frustrate you and you you maybe
you I don't know don't know the answer
and it will be slowly wrapping things up
there's a lady up near from the front
here
um yeah what are the challenges and
frustrations of acting and directing at
the same time and yep you trust your
cinematographer usually and your first
lady hugely and your fellow actors and
and there was a good piece of advice I
was given which proved to be true it
said that the trouble with acting in a
film you're directing is you don't give
yourself enough takes just you
embarrassed so you just want to move on
but yeah I relied hugely on those people
to just say it's okay let's move on do
you know how quickly an hour passes and
we didn't even translate anything into
Polish that thus enabling many more of
you to ask questions then otherwise it
would be the case and since I had the
luxury of asking the first question I am
also going to finish this up with a very
general question no not about the
meaning of life that we can ponder later
while sipping well something very
suitable but given how many young people
there are in the audience today even
though we've you've covered a lot of
ground sharing your experiences and
dispensing wise advice is there anything
that you would like to tell these young
people who are aspiring as
cinematographer directors actors that
might help them in the future
above and beyond what already has been
said
um I love working with young people in
the theater and on film you know it the
only I can say to you is that I'm
looking at all of you now and it's like
that long since I was your age listening
to some other old person talking and
it's it's so fast so I just encourage
you to treasure it and honor it and and
be brave with what you have and be
curious you you living in a time where
you know everybody's heads are down
looking at their iPhones and iPads and
on computers and and I just I despair of
young people forgetting to look up and
out and wherever you are you know maybe
there should be a moratorium on
computers and and looking down and you
know one day a week lock it away and
don't look at it and make sure you keep
asking questions all the time so that
you know you're only as rich as your
imagination and an imagination doesn't
exist all on its own it has to have
stuff put in all the time so if I ever
talk to young actors and and they're
talking about you know the challenges of
not working then the only thing I can
say to them is well if you're not
working you could still read a book and
you can know what's going on in the
world you can watch the news you can
have opinions you can go to an art
gallery you can listen to music it's all
available to you you just have to
respect this what we're calling about
this instrument you have to have huge
respect for it and pilot full of
information and
the jury so that when you get a script
in you're gonna direct it you know
you've got a resource and there's
information in there and ideas and
pictures and they will be completely
personal because you're all incredibly
different people so well that's what I'd
say get your eyes up those of you who
were recording it on iPhones you'll have
it available forever as for the rest of
you I hope you'll remember it forever
because it's worth it
and with these wise words let's thank
our incredible guests husband he's
generous in sharing his time I'll make
money
not much 4k cameras around and I think
the best one