00:00www.mesmerism.info
00:36The importance goes along with the insanity of it as well.
00:41I mean, Louis XIV has so much power that he could decide to move out of the Louvre and
00:48build a palace at Versailles and then demand the greatest gardens that have ever been
00:53built in the world on a place so not designed to have gardens, swamplands, 18,000 people
00:59building them, thousands of them dying, all of them getting bitten by mosquitoes on a
01:04kind of hourly basis, and impossible land to build on and cultivate things, and not only
01:10that, terrible problems with irrigation.
01:12So this famous series of fountains, in fact, only could be turned on one at a time, but
01:17then he would be wandering around and there'd be somebody kind of with a flag going, turn
01:20the next one on, he's coming.
01:21In his imagination, all these fountains were going constantly.
01:24So it's, what is it, it's hubris or glory or magnificent imagination of somebody with
01:31that much money and power.
01:34The film couldn't have happened ever without Kate saying yes.
01:37I couldn't have done it without somebody I trust as much as I do her and that I can stand
01:42back from and actually, you know, just applaud.
01:45She's phenomenal on every level, not just on the day when you're working with her, but
01:50also any director would go down on their knees and say huge thank yous to whatever deity for
01:56the fact that when you're in the editing room, whether you're looking at the wide shot, the
02:00the medium shot or the close up, there is perfect continuity.
02:03She knows exactly which line her hand went up to the leather strap, which foot she stepped
02:08off on and it just gets slotted in and not in a kind of boring technical way.
02:13I think she finds it quite freeing to be technically on top of it.
02:17She arrives knowing it backwards and she arrives open and non-judgmental and listening.
02:22She's done her work and now she'll just stand there and listen to her fellow actors and answer
02:27them.
02:27So what you've got from her is not just a huge emotional commitment to the line, but
02:32also you can put the camera on her when she's listening because it's telling you a lot.
02:38I had seen him, like most people, in Rust and Bone and thought magnificent actor.
02:44His name was suggested and I happened to be filming.
02:47Some things are meant to be maybe because I was filming in Belgium with Patrice Lequant
02:52and his name had come up and I'd seen Rust and Bone and it's a very hard part to cast
02:57opposite Kate.
02:58And I said, is he, does he happen to be here?
03:01Because I'm here.
03:01And he happened to be in Antwerp and I was in Brussels.
03:04And so he came and we met the next day.
03:06And I'm thinking, is Mr. Rust and Bone going to kind of slam his way into the room?
03:12A delightful, smiling person arrived, sat down and it was just a kind of instinctive response
03:18as far as I was concerned.
03:22Stanley is a director, too, so it's pretty challenging, frankly.
03:26You're always aware of, you know, his eyes are flicking around thinking, how would I shoot
03:30this scene?
03:30But fortunately, Stanley is a very good friend and we've worked together before, so I wouldn't
03:35quite say plonk a wig on his head and a hat on his head in the same way as I
03:39was kind
03:39of plonking a wig on my head.
03:40And I'm sure it was challenging for him to walk onto a set in England, having to play with
03:45English actors in an English accent, in relatively formal dialogue.
03:49But you would never know it because he's such a relaxed force as the outtakes will prove
03:54to those who are allowed to watch them.
03:56They'd have to be over 16 is all I can say with Stanley's outtakes, but no, he's a joy
04:01and a wonderful actor.
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