00:00I would work with you every day for the rest of my life and count myself the luckiest person in
00:04the world.
00:17In the beginning of the movie, there's a really cruel rule, no daydreaming.
00:22How can we not, in your opinion, daydream?
00:25I think it's very difficult. And it was a sort of it was a joke that felt like it like
00:30it summed up the city that Willy Wonka finds himself washed up in.
00:35He a place where things are very rigid and things are very fixed and and that even daydreaming is a
00:43punishable offence.
00:45And of course, there's no keeping Willy Wonka's imagination down.
00:48And so the story is really about him taking on this this sort of rigid world and and throwing a
00:54dose of chaos into it.
00:55Speaking about him, he is a genius, of course, a really creative person, of course.
01:02But I think that the most important quality that he has in your movie is that he can see the
01:09true potential of things, of people, of ideas.
01:13So how important are people like him? How much do we need people who can really see their potential in
01:19things?
01:19Willy Wonka is somebody who doesn't really believe anything's impossible.
01:23He's always he's always mentioning something which sounds completely absurd and completely impossible.
01:28And then, of course, it always turns out to be true.
01:31And I think that that is probably something he shares with the the great visionaries and the people who've who've
01:37changed the world.
01:38That if something sounds wonderful, then then try and make it rather than assuming it can't be done.
01:44There's a really sad line in the movie, which is the greedy beats the needy.
01:51Do you really believe it's true?
01:53I think it's true far too often.
01:55Yes. And I think it's it's the sort of it comes from this this child that Willy meets on his
02:04journey, Noodle.
02:04And she's grown up in this really tough sort of dog eat dog world.
02:08And she doesn't really believe in the potential of change.
02:12She just thinks life life is a series of hard knocks.
02:15And I think what's great about Willy and Noodle is they change each other because he gives her a sense
02:23of the possibility of change and the possibility that the world could be a better place.
02:26And she gives him a dose of reality and cynicism that his sort of a wistful dreamer didn't necessarily have
02:36at the start of the movie.
02:38And they really need each other.
02:40All the cast is amazing here, of course, but I really love Hugh Grant, Oompa Loompa.
02:45If it could be the chance, would you do a spin off with him as a main character?
02:51I would work with Hugh every day for the rest of my life and count myself the luckiest person in
02:56the world.
02:56He's so funny and so inventive and it's always a joy spending time with him.
03:01So, yes, if we could if we could spend our life making Oompa Loompa scenes, that would be wonderful.
03:08I love all the chocolate, the treats that you invented for this movie.
03:13I want to know which one is your favorite and how did you really got the inspiration for all the
03:19treats that we see in the movie?
03:21I was always trying to think what would Roald Dahl have done?
03:23And I think probably it's very difficult because I love them all.
03:27But I think probably my favorite is the the big night out chocolate, which was inspired by the the chewing
03:33gum in Charlie and the Chocolate Factory.
03:35So it's it's a sort of the alcoholic equivalent.
03:38It's a it's a big night out on the town and and every drink that you might have over the
03:42course of the evening.
03:43And we had a line about it that I really like, which didn't make the final cut, unfortunately, about how
03:47the at the heart of this chocolate,
03:49there's a tiny little aspirin which fizzes on the tongue.
03:51And so you wake up the next day with a terrible sense of shame and regret.
03:55But somehow come five o'clock, you want to do it all again.
03:58I'm a chocolate too, so I can totally relate.
04:01Thank you so much.
04:03Thank you.
04:04Thank you.
04:05Bye.
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