00:00 Congratulations on dressing so in such a dapper fashion.
00:04 It's only appropriate.
00:05 Had to look like a gentleman.
00:06 Yes.
00:07 Now, I can't be specific about the heroes and zeros,
00:12 but our protagonist is a hungry animal.
00:15 Our antagonist has indirectly started a war.
00:18 I had such a good time seeing this movie.
00:22 It took so many turns and was so stylistic.
00:24 I really had a good time.
00:26 Matthew, your character in particular
00:29 took me a lot of places.
00:30 There were a lot of layers.
00:31 He's very multifaceted.
00:33 How was the process for you?
00:35 What did you discover as you were filming about him?
00:37 I felt like I had a good line on who he was,
00:41 what he wanted, what he was trying to do going into it.
00:44 I think that the main thing that I didn't know
00:47 was gonna happen was how much you change things,
00:51 how much you have to adapt on the day
00:53 if you choose to play with guys rewriting of scenes,
00:58 which he does heavily,
00:59 which at first was extremely frustrating for me.
01:02 I'm like, "I've been working on this for..."
01:06 But then all of a sudden it clicks and you go,
01:08 "Actually, what he's coming up with is better,
01:12 "so I'm gonna be game."
01:14 And so then there's an agility
01:16 that I learned to bring every day,
01:19 to an extent more so than I've ever done
01:22 with any other film.
01:23 But also this type of film allows for,
01:27 it is a musicality.
01:29 It's part of the style you're talking about.
01:31 His dialogue is very precise.
01:33 He has very precise opinions on what that is.
01:36 There's a meter that Guy's listening for,
01:39 and yes, he's written it,
01:41 but he doesn't know what that meter sounds like
01:43 until the actor's coming out of our mouths
01:45 and going back and forth.
01:46 You gentlemen have both worked with the director,
01:50 Guy Ritchie, before.
01:51 I was wondering what makes him such a great collaborator?
01:55 - Um, his willingness to collaborate.
01:58 He really is very open to the process.
02:02 You know, he has this, the Guy Ritchie prism
02:04 with which everything has to sort of go through,
02:07 but I found he has a tendency to give all the people
02:12 he hires, not just the actors,
02:16 but cinematographer and production design
02:18 and costume designers, everything,
02:19 a certain level of autonomy and expectation
02:21 that you're gonna show up and do your job
02:24 without being babysat, you know,
02:26 which, you know, definitely inspires you
02:29 to do your best work.
02:30 - Well, no, I think that's right,
02:31 and I have found, the older I get,
02:33 that the better directors, the best directors,
02:37 are more like that.
02:39 It's extraordinary.
02:40 They barely seem to have a script,
02:42 and they have very few expectations
02:45 at the beginning of the day of,
02:46 "I want it to be like this."
02:47 They get really good at, "What am I getting?
02:50 "What am I getting, and do I like it?"
02:52 And altering it on the spot, directing on the hoof.
02:55 - That doesn't feel like it's a hit at the moment.
02:58 - Out of fucking way, you came in, you cunt!
03:00 - Is it one of those?
03:02 - Sure.
03:03 - Could be.
03:04 - Oh, cocky.
03:05 (laughing)
03:06 - Another thing that stood out to me
03:08 was the ample use of the C word in this movie.
03:11 ♪ 'Cause you're not going out the way you came in ♪
03:13 ♪ You deluded, duck-eating cunt ♪
03:15 (laughing)
03:16 - There's C-bombs left and right.
03:17 I was wondering, as actors, like,
03:18 what was your relationship to just, like,
03:21 every day, dropping C-bombs?
03:23 - It's quite, I thought it was quite kind of,
03:26 I don't know, therapeutic in a sense.
03:29 - Yeah, it's fun.
03:30 - You don't often get to sort of scream with venom.
03:34 - That word.
03:35 - Those types of, sort of, words.
03:37 - Or even throw it off as a side-handed joke
03:41 and throw it away.
03:42 And then, as you know, America has a very different
03:44 relationship with that word than Britain.
03:48 - Yeah, it did infect the rest of my life.
03:52 My young children say almost nothing else now.
03:55 - You know, it's an Englishman's prerogative
03:58 to drop the C-bomb.
04:00 So, we were making a film about good English gentlemen,
04:04 so we'd be remiss not to.
04:06 - But it's a much, much more frowned upon word
04:09 here in America, I think.
04:10 - Right.
04:11 - So I dread to think what that's going to do
04:13 to this film.
04:14 - Well, I think it puts you in the setting
04:16 that you're speaking of.
04:17 It puts you in the setting that you're supposed to be in,
04:18 like you said.
04:19 - Mm.
04:20 - Hugh, I was wondering, you've played so many, like,
04:22 really lovable characters throughout your career.
04:25 There's been a lot of good guys.
04:26 Is it enjoyable to flex those kind of, like,
04:30 bad boy muscles in projects like this
04:32 and be someone a little more shysty?
04:34 - Well, I think the character I play in this film
04:37 is rather lovable.
04:39 I loved him.
04:40 I'm sad that no one else does.
04:42 - I want you to play a game with me, Ray.
04:44 - I don't want to play a game.
04:45 - Oh, please.
04:46 - No.
04:47 - I said play a game with me, Ray.
04:48 - I mean...
04:49 Right.
04:51 - Lovely.
04:52 - He lives in the morally gray.
04:52 - I know what you mean.
04:53 He's appalling.
04:54 He's an absolute...
04:56 Yeah, he's sleazy and disgusting.
05:00 Yeah, it is cathartic.
05:01 Anyone would say that.
05:01 You'd say that.
05:02 It's better to, it's more fun playing baddies, isn't it?
05:04 - Yep.
05:05 - And easier.
05:06 - You're too smart to be blackmailing us, Fletcher.
05:08 - Yeah.
05:09 (dramatic music)
05:10 - These people are going to clean house,
05:12 and you are part of that house.
05:14 (dramatic music)
05:15 - Henry, we've been seeing you in a lot of movies
05:18 where you're super nice and charming.
05:21 Was it exciting to kind of flex a different muscle
05:24 and be kind of like, sheisty and terrible?
05:27 - Yeah, this was definitely a departure of...
05:30 It's funny, 'cause I was filming
05:32 at the same time last Christmas.
05:34 So one day I'd be on the streets of London,
05:37 prancing around, kind of falling in love with Emilia Clarke,
05:41 and then the next day, it's Sap.
05:43 Opposite Matthew here, and just like throwing daggers
05:47 at each other in such an intense scene.
05:50 So having to switch from those two characters
05:54 throughout pretty much October and November
05:57 when we were filming, it was amazing.
05:59 It was really sort of the ability to inhabit
06:04 such polarizing characters during a small kind of time frame
06:11 that kind of allows you that sort of flexibility.
06:14 You become attuned to it.
06:17 And so it was a joy sort of waking up and like,
06:21 what, who am I today?
06:22 (laughing)
06:23 You know what I mean?
06:24 And sometimes I would start reading
06:27 sort of my script for last Christmas
06:29 in the dry eye kind of voice.
06:30 I don't know if you ever do that.
06:31 You sort of start adding a couple of C-bombs.
06:34 It's weird.
06:36 The more sort of swear words that were coming out of my mouth
06:39 it was just putting me into that dry eye kind of state.
06:42 - Did you keep it quite separate?
06:43 Like were you learning lines on set for each?
06:47 - I was learning at the same time,
06:48 but it was just switching.
06:51 And it was weird 'cause my wife would come into the room
06:55 as I was reading the different scripts
06:56 and she would know what script I was reading
06:59 because just the atmosphere in the room
07:02 would be really dark and tense.
07:04 And she'd be like, she'd come in, she'd be like,
07:06 do, do, do, do.
07:06 (laughing)
07:07 I'd read in dry eye, like I'll leave him alone.
07:09 - I was also very taken by how the violence in this movie
07:13 was very random.
07:15 Sometimes it's hilarious.
07:16 - Please.
07:17 - Sorry for Hukanda for Huk.
07:18 - Please.
07:19 - You know, it's explosive.
07:20 (explosion)
07:23 How did that factor into your process?
07:25 The fact knowing that these things
07:27 were coming out of nowhere
07:28 and you were gonna hit the audience in the face.
07:31 - That's one of the delights of Guy Ritchie's films.
07:34 You know, we were saying that earlier,
07:36 every character has a very clear identity,
07:38 but if you're gonna have many immovable forces
07:42 where the plot has you intersect,
07:43 something's gotta give.
07:45 It can happen with a jackknife.
07:48 It can happen immediately.
07:50 It can happen in the middle of the most comedic scene.
07:53 I think that's part of the playfulness
07:54 that Guy does well in a movie like this.
07:57 - One of the things that really stuck out to me
07:59 was how ultra-stylized it was.
08:01 I was wondering how cue it in to the subtitles
08:05 or the cue cards, the little editing choices.
08:09 Was that in the script?
08:10 Were you aware of that during the process?
08:12 - He told me it wasn't gonna be like that.
08:14 - Oh, really?
08:15 - I said, "Are you doing all your whizzing about nonsense?"
08:18 And he said, "No, no, no, no, no.
08:19 "We're doing it straight.
08:20 "We're doing it straight.
08:21 "We're gonna have classical music."
08:22 That was all rubbish as it turned out.
08:25 You haven't seen it yet.
08:25 - No, I haven't.
08:26 - But it is, it's quite stylized and sort of lock stockish.
08:30 - Yeah, it's heightened,
08:31 which I found really enjoyable as an audience member.
08:34 - Do you know what, I think part of that
08:35 is that Guy works very, very closely
08:38 and gives that sort of that thing we were talking about,
08:40 an enormous amount of autonomy to Jimbo, his editor.
08:44 And I think Jimbo sort of just gravitates
08:49 towards that style of filmmaking in the editing room.
08:53 So probably a lot of it has to do with their collaboration.
08:57 'Cause Guy said the same thing
08:59 on the last two films I did with him,
09:01 that it was gonna be this grand departure
09:03 and sort of an entry into very, very classic,
09:07 sensible filmmaking.
09:10 And it hasn't happened on both occasions, so.
09:13 - There's only one rule in this fucking jungle.
09:16 When the lion's hungry, he eats.
09:19 [gunshot]
09:22 [BLANK_AUDIO]
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