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00:07I have long been a fan of John Hill Coates
00:09and so I was just incredibly excited
00:12to be honest, to even receive a script
00:13that he was going to be directing
00:16and of course
00:17it's just so brilliantly written
00:20and it's incredibly cool, something
00:21totally different for me, I mean playing
00:24a truly brutal
00:25horrible, horrific
00:27human being isn't something
00:29that I have done before
00:31and playing a Russian-Israeli
00:34Mafia boss
00:35basically, I mean she's the matriarch
00:37of a Russian criminal family
00:39and she's running her husband's operation
00:41whilst he is in prison
00:43and she's a very, very powerful
00:45individual
00:47and I just, I suppose I
00:49just hadn't imagined that I would be asked
00:51to play a role like that in my lifetime
00:53and so it was
00:54a particularly exciting opportunity
00:57for me
00:58and of course I was told
01:00the other cast members
01:02when I was sent the script
01:03at the same time as being sent the script
01:05and so that was very irresistible as well
01:08you know, it's always so much fun
01:10to be in company
01:12in the company of wonderful, interesting
01:15actors and
01:16it does make it all the more exciting
01:18and challenging and fun
01:21creating the accent for
01:24Irina was
01:26probably the most daunting part
01:27of it for me
01:28and actually William Conacher
01:30who I was lucky enough
01:33came along to be the dialect coach with me
01:35is a friend from
01:37from films I've worked on in the past
01:39and I called him before I even said
01:42yes to triple nine
01:44I called him and I said okay
01:45can we do Russian-Israeli
01:47and he said of course we can
01:48what is it?
01:50I said what's the film
01:51or the accent?
01:52he said well both
01:52I said but you're the dialect coach
01:54he said well we'll figure it out
01:55of course we can
01:56don't be ridiculous
01:56and I thought okay
01:58so then said yes
01:59and then was very much over to William
02:01and said okay well
02:02how do we do this
02:03and it was really a case of
02:05of listening to a lot of dialect samples
02:07that we managed to obtain together
02:11because she isn't
02:12you know she isn't just Russian
02:14she had
02:17she'd left
02:18she's Russian-Israeli
02:20so it's a complicated dialect
02:22nothing straightforward about it at all
02:24and every day was quite terrifying
02:27and I just had to be very prepared
02:29I probably spent more time I think
02:30preparing the dialect
02:31than I actually spent
02:33on set shooting days
02:35because it was just something that
02:38you know I just had to get it right
02:42Costume design as well as
02:44production design
02:45you know they are responsible for
02:47creating that world
02:48and you know as an actor
02:50it makes it all the more pleasurable
02:53to step into that role
02:54and step into that world
02:56when it is so exquisitely
03:00placed and planned
03:02and I think
03:05I do have to say that
03:07the production design on this film
03:09is really extraordinary
03:11because it's just all so real
03:13I mean it really is
03:15brutal and horrible
03:17and looks very real
03:18and also in
03:19Irina's world
03:20looks incredibly opulent
03:22in the way that
03:23it truly would have done
03:24and that very much goes against
03:28with the brutality
03:29of what she is asking people to do
03:31and so I think the contrast
03:32of those two worlds
03:33is quite shocking
03:35that's something that's going on
03:36Grazie a tutti.
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