- 6 weeks ago
Jeremy Irons joins GQ as he revisits some of the most iconic characters from his career so far: from voicing Scar in Disney’s 1994 The Lion King to his role as Simon Peter Gruber in Die Hard with a Vengeance.Credits:Director: Nick CollettDirector of Photography: Jack BelisleEditor: Louville MooreTalent: Jeremy IronsProducer: Camille RamosLine Producer: Jen SantosProduction Manager: James Pipitone; Elizabeth HymesTalent Booker: Mica MedoffCamera Operator: Carlos AraujoGaffer: Duell DavisSound Mixer: Mariya ChulichkovaProduction Assistant: Karla Torres; Quinton JohnsonPost Production Supervisor: Jess DunnSupervising Editor: Rob LombardiAdditional Editor: Jason MaliziaAssistant Editor: Justin Symonds
Category
🛠️
LifestyleTranscript
00:00If they're being impossible, as most children are most of the time, I put on my scar voice
00:06and they just go, terrified, it's wonderful, I get a bit of peace.
00:16The Lion King Life's not fair, is it?
00:22You see, I, well, I shall never be king, and you shall never see the light of another day, and you...
00:35Didn't your mother ever tell you not to play with your food?
00:38The Lion King, I was working at Stratford, the Royal Shakespeare Company, and they said,
00:42could I do this? And I assumed that I would see a screen with a lion doing that, and I'd
00:47have to try to make an eye voice, do what his mouth was doing. But no, we arrived in
00:54some studio in London, or some room in London, I can't remember, it was big, and all around
00:59the walls they had the sort of storyline, pictures. There were people with video cameras, I sat
01:07at a desk and they would throw lines at me, video cameras would shoot me, and there were
01:12people sketching me. Then about four months later, we'd meet again, where I remember the
01:17second time, I think it was in Canada, I was shooting there, and they all came, and they
01:22had got more stuff together, and we're beginning to sort of find the character, and we tried
01:28more lines, and more ideas, and once again they were still looking at me and videoing me.
01:35Then I saw the film, and there I was, I was really upset, because, you know, James R. Jones,
01:42muscular and wonderful, fantastic mane, and rippling with muscle and gloriousness, and I was this
01:49scraggy, sort of mangy looking lion, you know, thin bulge, and terrible tail, terrible mane,
01:58and I thought, is that what they saw when they were, I thought they were drawing, you know,
02:03anyway, they weren't. And I was very, very upset, even more so, of course, when we saw
02:12it at Radio City Music Hall for the premiere, and when he died at the end, the whole audience
02:18stood up and roared, and I thought, this is not possible. He was a wonderful character,
02:24why are you so happy? But it was a great experience, very free.
02:30An elephant graveyard is no place for a young prince. Oops.
02:34An elephant what? Whoa.
02:37Oh dear, I've said too much. Well, I suppose you'd have found out sooner or later,
02:43you being so clever and all. Just do me one favor, promise me you'll never visit that dreadful place.
02:51Geoffrey Cassimer called me in the house I was staying in Italy and said,
02:56The Lion King is a huge success, and a big part of that is your character. And I was very pleased,
03:05and hoped that I'd get something in the post as a thank you, because I remember, who played Mrs.
03:10Doubtfire? Robin Williams, that's right, Robin did work for Disney. Now, Disney don't pay very much
03:14money, I mean, they don't. And Robin called them and said after Mrs. Doubtfire, I've made a fortune
03:20for your company, and you paid me a tiny fee. And in the post, he got a Picasso. I hoped maybe Geoffrey
03:27would, you know, put something in his pocket, but I didn't. Anyway, they were very pleased with me,
03:31but no, I didn't get a Picasso. You're in trouble again. But this time,
03:37Daddy isn't here to save you. And now everyone knows why.
03:42Daddy! Simba!
03:45Have I ever frightened children? I do it all the time. If they're being impossible,
03:50as most children are most of the time, I put on my Scar voice and they just go.
03:56Terrified. It's wonderful. I get a bit of peace.
04:00Die hard with a vengeance.
04:02I thought this was a currency exchange.
04:05Oh, I think we'll go straight to the withdrawal.
04:12Duncan Bailey.
04:13He thought of me, really. I thought he was a wonderful character. He lived outside society,
04:18he did his own rules. He took blame for what he did if it went wrong. But games and playing with
04:27people, that suited my personality. I found it very easy to slip in to Simon. I thought he should be
04:33blonde because I'd always wanted to try blonde and short hair. We were doing costumes down on 44th Street
04:41or something. Somebody produced that T-shirt and I said, let me try that on. I thought, that's the one.
04:51That's the one. And I just thought, there's the man. And obviously Bruce was affected by this
04:57because in his next movie, he had short blonde hair and the turquoise T-shirt. So he obviously knew it
05:04worked. I mean, it's lovely when you're playing that sort of character who does what they want,
05:10because you can look like you want to.
05:24I think it probably goes back to Mike Nichols, who I remember in The Real Thing when he was directing
05:32that on stage with Glenn Close and I. Glenn has a moment where she has to confess to being unfaithful.
05:39We were rehearsing it and Mike said, try doing it with a Mars bar. I said, have you got a Mars bar?
05:44And she was eating the Mars bar. And then I asked some question, which meant she had to confess,
05:51and she had this Mars bar. And it's extraordinary what it does. Extraordinary what it does. I used it
05:56also in Dead Ringers, there's a scene where I have a Mars bar. I used it in Lolita, where there's a
06:03scene where I'm, where the headmistress of Lolita's school says something which makes me think she might
06:09be on to me. And I'm eating a cake at the time. It's just, it's a very useful comic sort of, and I think
06:16the egg was to take the edge off in much the same way. Food can be very useful. It can be a pain in the
06:23ass. But, but if you're doing a eating scene, and I tend not to eat very much then, but at
06:28moments it's quite useful. Have a, you know, it just helps. Dead Ringers.
06:40I just want to say something. There's been a fraud perpetrators here tonight.
06:47The whole thing's a fraud.
06:57He's Beverly, and I'm Elliot. I watched The Fly and about three of his films. I found them pretty
07:03tough. But Dead Ringers, I thought, was a slight move away from that, although still had the same
07:09sort of eeriness. I remember he had to come over to London because my agent at the time, Sam Cohen,
07:14in New York kept refusing to send me the scripts. And so David had to come to London, give me the
07:20script. And I read it. And I said, well, this is great. But, you know, isn't the technique of the
07:25twinning actually going to kill any sort of brio that I could find for those characters? And he said,
07:33well, I hope not. I don't know. But so I went over to Canada and did a test, a twinning test,
07:38on video, just for a day to see what the process would be. And I discovered that it didn't. It
07:45didn't. I found it quite freeing in a way. It was an interesting one because, to start off with,
07:51we shopped separately with the two twins. We had two separate dressing rooms. And I remember
07:57first or second day when we watched the rushes of the first day sitting in there. And at the end of it,
08:01I said, David, this is a disaster. I said, anyone can tell the difference in these two.
08:05They're not alike at all. He said, oh, what are we going to do about that? I said, well,
08:11well, I swapped all the clothes. They said they were all dressed much the same. And I found a way of
08:18trying to make them identical on the outside, but finding an inner energy in both of them that was
08:27different. So I could switch that energy spot. I think there's one scene where he has to pretend to
08:33be being the other twin. Do a cappuccine per favore and quickly. A countess is a tigress until she's got
08:43her caffeine in the morning. Hey, come on. Not that bad. You're a little bit smoother in real life.
08:56So I tried to think of all the mannerisms that he might have the other twin,
09:00but not change the energy spots. So the audience would know which twin it was pretending to be the
09:07other without the people on the screen, the characters in the scene, knowing that it was the
09:14other one. I always know how other people should play a scene. You know, maybe I'm playing opposite.
09:18I thought, if you did that, it would be wonderful. And when you're playing both of them, you can do
09:24that. I've got my mirror person who never appears. A lovely actor he was, who always played my eyeline
09:32and me, the other twin. And we never see him, but he's always there. And I watched him. I thought,
09:38I'm not doing it like that. I'm going to do it like that. That's how I'm going to do it. All right.
09:41Okay. And then I go around and I do it like that. You know, we develop the scenes in the way I love
09:46developing them, in that, you know, you're on the set, me, my stand-in, Peter Sushitsky,
09:56the cameraman and David. And we say, okay, how are we going to do this? And we work it out
10:02quite quickly because there's not many of us there. Then we get the cameraman in and we say,
10:07this is what we're going to do. How are you going to shoot it? He decides. And then we get the crew
10:12in. They watch. And then I go away where they set it all up. It was so clear and clean and efficient.
10:21I really felt on that movie that it was a partnership, which is a wonderful feeling to have as a director.
10:29Reversal of Fortune. Well, before you assume I'm guilty,
10:35won't you hear my story? No. Never let defendants explain. Puts most of them in an awkward position.
10:42How do you mean? Lying.
10:46Well, I give you my word as a gentleman. I didn't want to do it. I thought it was a very tasteless idea
10:52because the man was still alive, his wife was still alive, the children were still alive. And it was
10:56Glenn Close, really, who said to me, listen, if you don't do it, someone else will, so it'll still be made.
11:00And she said it's a, you know, a fantastic story in a way. And so she persuaded me to do it. But I found it very difficult to get inside Klaus.
11:10I watched him a lot. I watched him on the Barbara Walter shows and all those shows he was doing.
11:17He was obviously clearly enjoying being an enigma. I met with John Richardson, a great friend of his,
11:24the art critic, who'd known him all his life, who said, play him like a bad actor.
11:29And I said, okay, not sure how to do that. All right. He's a perfect weekend guest. I got these sort of,
11:37just these phrases thrown at me. I thought, okay, I know the perfect weekend guest. You're quite glad
11:43after two days when they go, but they're great fun for two days.
11:46What do you give a wife who has everything? An injection of insulin.
11:55How are my prawns? How can one define a fear of insulin?
12:02Claustrophobia. But I still couldn't get inside him. And then I thought, well, what about my dad?
12:09Because I'd been watching him in court, you know, being very suave and very sort of, you know,
12:14pleasant and whatever, British, although he wasn't British, of course. I thought if my dad had been
12:21caught up in, for some reason, in a situation similar and taken to court, how would he deal with it?
12:29And I thought he'd probably sort of be the same as Klaus. He'd be charming and he'd, you know, keep his
12:35feelings to himself and just deal with it and go to the dinner parties and be polite and charming.
12:42I thought, well, I'm very like my dad. So maybe that's how I would deal with it. And that's how
12:46I got into Klaus. And Klaus used to write to me on little postcards after I'd made the film,
12:54when I was doing interviews. And he'd say, no, I wouldn't agree with that. And I wasn't like that.
12:59So I had these postcards, but I'd never met him. His great friend Getty,
13:03who's a neighbour of mine in England, Getty used to throw these cricket matches. And I was sitting
13:07watching the cricket one day in Oxfordshire and lovely. And I heard this voice behind me,
13:13you'll see, I'm not fat. And I turned around and there he was. And I said, I never said you were fat.
13:18I said, you were a bigger man than me, which you are. I mean, he's bigger, you know, you're just a bit
13:22of a bear of a man. He said, oh, I see. He said, do you ever see Alan Dershowitz these days? I said,
13:29no, not since the movie have I seen him. He said, ah, so I understand he's representing
13:36Leona Helmsley and Michael Tyson at the moment. I said, yes, yes, I'd read that, I'd read that.
13:41He said, you haven't been asked to play either of them, have you? Ha! I knew it would be no use
13:46asking him, did you, what did you do? You know, I had to make up my own mind, which I did. I mean,
13:51I knew the odds were in my favour for the Oscars, although I was up against some fantastic actors.
13:56I just knew that maybe my time had come. So, but I was preparing the face for losing. And then
14:03they mentioned my name and I thought, oh, I'd have to use that face. So I was, I stood and
14:09I'm a bit of a kisser anyway, I'm afraid, a kisser and a hugger. So whoever was next to me,
14:14I think my agent, I'd probably kissed her. And then I'd moved out. And there indeed was,
14:19was Madonna. And I thought, well, I know Madonna. Well, I didn't know her,
14:22but I gave her a kiss because, you know, whatever. And then there was Michael Jackson.
14:26And I very nearly gave him a kiss. I don't think I would have won the Oscar had I not made Dead
14:31Ringers with David. I mean, I think Dead Ringers was a eye-catching performance, not saying it was
14:38good or bad, but it was eye-catching. And yet the movie was not an Oscar movie because of the subject
14:45matter. You know, it's not. So, but I think the fact that I hadn't been nominated for that the
14:50year before, and then Reversal of Fortune happened, I think it added. I think there were a lot of people
14:56in Hollywood who said he should have been nominated last year. Hence the fact that I, I mentioned David
15:01Kronenberg during my acceptance speech. Lolita. Make your tickets to our class late tomorrow.
15:11Me? Mm-hmm. She'll do anything you say. She's getting a thing about you.
15:17What are you two so cozy about? I was afraid when they asked me to do it, I have to say this is
15:35another film which Glenn Close told me to do. I felt, because I knew what had happened, I mean,
15:41the original Lolita, and I just thought, at this point, it was later, you know, than the original,
15:47and I thought, this is a very difficult subject for today. And I thought, ah, well, I'm not sure
15:55this is a subject I should do. So anyway, Glenn said, listen, it's a great story, a classic story,
16:01and Adrian is a great director. Well, I said to my agent, Fred Spector at CAA, I said, Fred, listen,
16:07I'll do it, but make sure I'm paid enough not to work for the next three years, because I don't think
16:14I will. Of course, because Adrian was a load of fun. We had, we had a lot of fun. Dominic was
16:19wonderful. She'd never acted before. We, we did a test in New York with a girl who was very experienced
16:27from doing work in Los Angeles, television work, and Dominic, who had made a self-made video with a
16:35friend of hers, of a scene from the book, and sent it to Adrian. And Dominic was a very bright girl,
16:43wacky, and we did the test, the two of them, and Adrian and I talked, and he said, what do you think?
16:50I said, well, it has to be Dominic, because you don't know where she's going to come from. She's just,
16:56she's just fantastic. She's there. She's everything you hope for with her, with an actress. She hadn't
17:01been told how to behave, what to do, how to do. She just was a kid. I think a lot of kids just,
17:08if they're natural, which she was, just produced an enormous, wonderful texture, which an actress who
17:17was trained and, you know, behaving might not have done. Are there things you ever do to try and get to
17:24that, like, childlike state? Oh, always. I mean, always. I try to not to prepare too much, just to be on
17:31the cusp of not knowing what I'm doing. And I try to surprise the person I'm playing with. I mean, I
17:37directed a little, a rock video once for Carly Simon called Tired of Being Blonde. I filmed it, I cut
17:45it, I watched it, and I thought, this is really boring. And then I went into all the outtakes to find when
17:52something actually happened, actually happened. Someone was, something went wrong and somebody
17:58actually had to, and I knitted them all in and it made it better. Not completely good, but not bad.
18:05And I realised that what the camera loves is when something happens. And being an English actor, I'm
18:12trained to sort of know what I'm doing all the time. That's not what the camera likes. It likes
18:20a reality which almost surprises the person who's giving it. And to get into that state of relaxation
18:26and of unknowingness, I think is important. And I, I help myself by not preparing too much
18:36and being quite bold. The Mission.
18:49The 18th century oboe is not easy, but it was played by somebody who lived out in the Caribbean,
18:58and we shot the Mission mostly around Cartagena. George Martin played the 18th century oboe,
19:03and so he came in, which is very nice of him, and he spent a couple of weeks teaching me to play this
19:08desperately difficult instrument. I mean, it's a killer, absolute killer. We had this piece of music
19:13which I played. I was very proud of myself. We filmed the scene with me playing it, actually
19:19miming to it, but nevertheless miming to the tune. The fingering was right. Then they replaced it and
19:24gave me a bit of wood, and that's what the Indians broke, not the beautiful instrument I'd been playing.
19:29Ennio Morricone had written this wonderful theme, which was not what I had played. So whenever I see
19:37the movie now, I think, it's very, the fingering's wrong, the fingering's wrong, but I don't think many
19:43people see the fingering, but there we are. Working with De Niro was at the beginning very difficult.
19:50He was going through a period in his career where he was being very La Mama, or whatever it is,
19:56doing a huge number of takes. I mean, about huge, like sort of 55, 56. He stopped doing that once he
20:02directed a film of his own. He rose that you really can't do that. He didn't want me to play the role.
20:08He wanted to have a relationship like Sam Waterston and Dith Pran in The Killing Fields,
20:13one actor, one person. He wanted his great friend Elia Kazan to play the role. The role was actually
20:18written for my father-in-law, Cyril Cusack, an Irish actor. Ten years before we actually made the film,
20:24Cyril Cusack was too old by the time we came to make the film. So I auditioned with Bob, a very difficult
20:30scene where I had to try and make him recant his guilt. That was a disaster. He sat there,
20:37didn't say anything for 45 minutes while I tried to make him sort of soften up a bit.
20:43And I then had to go back, I was here in New York, had to go back to my evening performance
20:47in The Real Thing. And when we finished the play, and I came back to London, and I hadn't really heard
20:53anything. And I called David Putnam, who was the producer of the mission. I said, David, have you cast that
20:58role yet, Father Gabriel? He said, no, I haven't. He said, it's very difficult. He said, I want a young
21:03man because there's a lot of bugs out there and I don't want an old man getting ill and all of that.
21:07And I said, well, you know, I'd love to do it. He said, would you? I said, yeah, yeah, I would.
21:13He said, well, does Roland know that Roland Joffe, the director? I said, no, I don't know.
21:18He said, well, give him a call. So I called him. He was in Cartagena preparing.
21:22And I said, Roland, Jeremy, David says I have to tell him I tell you that I want to play this role. He
21:28said, well, come on out here. And so I packed the following day and went out and did it.
21:33And Bob was furious, absolutely furious. The last thing he wanted was an English actor,
21:39an Englishman and an actor. And he used that for his dislike of this priest for the first half of
21:47the film, so much so that he wouldn't talk to me. English actors are the worst because they've got
21:52technique and, you know, and they're actors. And he wanted a person, a person, you know.
21:58Eventually, we had a blazing row in the middle of a jungle in the make-up bus and everybody left us
22:03alone because they knew what was happening. And we called each other every name under the sun
22:08and just let it out. And then sort of at the end of that, it was all right. And we had a
22:14great dinner that night with some wonderful pastor that Tookie Smith, his girlfriend at the time, had
22:21made down by the sea and smoked a very good joint. And Bob and I have been like that ever since.
22:28Um, very, very, very close, but it was a difficult start. Batman versus Superman.
22:41Thermal imaging is showing me two dozen hostiles on the third floor. Why don't I drop you off on the
22:47second? I'm fortunate as the director said to me, what's going to be your outfit? What do you want to do?
22:52I just remember going to dinner with John Paul Getty, who I mentioned before with Klaus, but who I say
22:57is a neighbour. And we went on to his estate. We went through the gate and passed through them.
23:05Two people came and opened the doors and out we got. And we walked up to the front door and there was
23:11a very nice gentleman saying, take your umbrellas or whatever. And then we walked in. Somebody opened
23:16the door and said, would you like a glass of champagne? Another gentleman. And then we were shown into the
23:21sort of the main drawing room. Somebody said to me, he said, you know, all those people at SAS,
23:27every one of them. And I thought, oh, absolutely. So when I came to play Alfred, that's what I
23:33thought. I thought this, that's what this man is. He's highly trained and he makes a great cup
23:39of coffee. He makes a great dinner. He can drive, you know, he's, he's that guy. And for me,
23:47that's how I saw him. A fellow who can actually do everything and will really take care of you.
23:53So what you're telling me is that the music is about to stop and we're going to be left holding the
24:11biggest bag of odorous excrement ever assembled in the history of capitalism.
24:20Well, I mean, everyone was interested in that crash, but strangely enough, I thought I probably
24:25wouldn't do it because my visa had run out and they shot very, very quickly. They were shooting
24:30in New York. I was in London. Anyway, I believe calls were made to a very high
24:37level here in America to get my visa. I thought it would never come. So I thought I'm not going to
24:42be doing this because I knew they had a really tight schedule. And although I'd done the research,
24:48I hadn't learned the lines because I was not going to happen. And on the Sunday night,
24:54or maybe it was the Monday morning of our bank holiday in England, I got a call saying,
24:59we've got the visa. You can go get on the plane tonight. So I thought, Jesus Christ. Okay. So I
25:05got on the plane and I got to New York and was taken to the building, which they rented to make the movie,
25:12which was full of the makeup department, the costume department, the sets, and everything.
25:17It was all done in that, in that building. I was given my costume and the following morning,
25:24makeup, bang, bang, bang, bang, bang, bang. And I go in for the, for that conference scene,
25:29you know, when he's just flown in by helicopter. And hanging onto my lines, like, I think,
25:35I do. And I walked onto the set and the table was full of all these mates who'd been acting together
25:43for the last months. And all chummy and funny and having a nice time with a load of actors,
25:49like a sort of, you know, cocktail party or something. So I thought, this is not right at all.
25:53Anyway, the director said, you just run through it. So I ran through it and they were all very chummy.
25:58And he said, do you want to shoot it? I said, let me just do one more rehearsal. And so I walked in,
26:05and I yelled at everybody, just completely off script, just yelling about how they looked,
26:10how they were sitting, what they were doing. And I said, okay. And I left. And I said to the
26:18director, let's shoot. And I came in and they were all thinking, he's having a nervous breakdown,
26:23this man. He's completely off his head. But it gave a great attention to the scene, which was good.
26:31Let me tell you something, Mr. Sullivan.
26:34Do you care to know why I'm in this chair with you all? I mean, why I earn the big bucks?
26:43Yes. I never prepare enough. That's my problem as an actor. I remember feeling unprepared for that.
26:49But I quite like that. I'm married to an actress and she's always terribly prepared.
26:55I mean, really, she's prepared everything. And I try to keep it
27:01sort of like, you know, if I'm going to a tennis match, I hope I'm practiced up. I hope I'm fit.
27:07I hope all my muscles are working right. But I don't know what's going to come across that net.
27:13And I want to, I can't plan for that. So that's the sort of attitude I try to get onto a set with,
27:20you know, what it is. Knowing that I've, I've got the, I've got the, the equipment to,
27:27to chuck back whatever balls chucked at me.
27:31Bryce had revisited.
27:34What do you think of this?
27:40Golly.
27:41I was an actor in the West End, Young Vic and that sort of thing. And I remember I had a,
27:46I was doing a play, Simon Gray play. And my, my name was over the, you know, over the door,
27:52the marquee in the theatre. And I thought, this is very good for my ego. But actually,
27:57who's coming to see it? Because it's me, because nobody knows me, really,
28:00apart from the London theatre scene. I must do either a movie or a television film and,
28:06or a television series. And I thought, probably a television series, because they seem to make their
28:11mark more than movies at the moment. And I was doing a play in Greenwich later on. And a man
28:19called George Howard came and a friend of my wife, a friend of mine, came to a show. And we were sitting
28:25having a drink afterwards. And he said, have you read Brideshead Revisited? I said, no, I haven't,
28:29even more. Never have. He said, well, read it, because Granada Television are going to make it,
28:34I know that because they're going to use my house, Castle Howard. So I read it. And I
28:38saw a fantastic story and, and wrote to them of Granada and said, listen, when you make the
28:46series, I'd love to be in it. They got in touch, said, would you come and play? Would you play in
28:50this? And would you play Sebastian? And I said, well, I'm not really that keen on playing Sebastian.
28:55I can play Charles, because Charles is a very interesting character, the sort of character I've been
29:00educated to be, but which I hope I will shed one of my skins during my life. But that journey is very
29:08interesting. And I love that sort of retired, quiet Englishman. He's not really sure of anything,
29:15his sexuality or his talent or anything. It was fantastic for me because it was
29:23the equivalent really in time of about six feature films. And we shot it like a feature film. And I
29:28was always there because I was the host of the party, the eye of the book, really.
29:32I learned a huge amount and got very comfortable around the camera and about the whole process of
29:39filmmaking. When I was making a French film with Sven Niegfried's directing a film based on Proust's
29:46story and a Morda Swan, I remember sitting in the rushes watching and I said to Sven, Sven, we saw this last
29:53night. And he said, no, we didn't. We shot this last night. I said, but I've seen this before. And I
29:59realised that I'd begun to have double vision. In other words, I knew what the shot was while I was
30:09doing it. And I could see it both what the camera was seeing and in my imagination when I was playing
30:16it. And so when I came to see it on the screen, I'd already seen that. And Bright had helped me
30:22with that, just helped me get used to the relationship between the camera and the actor.
30:29The Morning Show.
30:32I was hoping you'd use your talents as something more significant than daytime television.
30:36Right.
30:37But that's water under the bridge. So I thought we were not talking.
30:44Why are you here? Somebody tell you I was dying?
30:46Well, I played Jennifer Aniston's father, a relationship which is sort of broken down,
30:53a man we know a bit about, but not a lot. And we had to create that relationship and find how it
31:04could be mended, if it's going to be mended. You know, Jennifer, I was well aware of as an actress
31:10and thought she was tremendous. So I was very happy. I thought, well, you know, I do sort of
31:16very small European films most of the time and whatever, and it'd be good for me to get into
31:23an American series and have a bit of fun. So I'll go and do that. The first couple of scenes,
31:28you know, I was a bit aware that it was a, you know, an intricate mechanism that was working
31:35around me. You know, you have to sort of muscle your own energy into that. Once we got a couple
31:41of scenes on camera, I began to feel comfortable. It was a very happy experience. The only thing I
31:46didn't like was it's filmed so far away from where I live. I mean, I live in England and Ireland and
31:51they shoot in Los Angeles because of children. So it's a long way to go. But apart from that,
31:59it was joyous and, and it's very well written. And, you know, we work on the script up until the
32:05moment the camera turns, refining, refining, refining, trying to get, you know,
Be the first to comment