00:00Who's Harry Kane?
00:01Who's Harry Kane, good lord.
00:02English football.
00:03You're in England, sir.
00:04Oh, I'm so sorry.
00:05Who died and made you Arch Pussy Ferdinand?
00:08Now, what does that mean?
00:10Guys, congratulations on this movie.
00:12One of my favourite movies of the year.
00:13Both fantastic, innit?
00:14It does remind me of a quote that is attributed to you, Sam,
00:17during the success of Three Billboards,
00:19your last kind of collaboration with Martin,
00:21which was, I think of myself as a journeyman actor.
00:24I've got some talent and I work hard,
00:26but people like Brando Pacino,
00:27you know, those people are touched by God.
00:29And I think about that when I see you in movies like this
00:31and I think, what a load of bollocks in a way.
00:34Because this guy's one of the best there is
00:37and to refer to himself as just a sort of journeyman.
00:41But it made me wonder, just that certain level of kind of
00:43almost like self-doubt, do you need that to propel you on?
00:47I think you need humility.
00:49You know, I think you need a certain amount of confidence
00:51and then humility to kind of like stay on the planet Earth.
00:55And it's really, the discipline of acting is repetition and ritual.
01:00And so you have to kind of stay grounded for that, you know.
01:04But yeah, I think John is touched. I think Parker's touched.
01:07You know, I think there's people who are touched with,
01:09you know, some fairy dust.
01:11What do you think is your secret?
01:13Are you like the Harry Kane of acting where you just...
01:16Who's Harry Kane?
01:18Who's Harry Kane? Good Lord.
01:19English football.
01:19You're in England, sir.
01:21Oh, I'm so sorry.
01:22He's our greatest ever striker.
01:23And he wasn't as a young man.
01:25I feel really stupid.
01:26He was a journeyman player as a young man.
01:28Had lots of loans and then worked so hard
01:30that he's arguably the greatest striker in the world.
01:32The numbers he puts up are absolutely ridiculous.
01:35Because he worked hard.
01:36Seemingly because he worked hard.
01:37Yeah, yeah, yeah.
01:38Is that how you kind of see yourself?
01:40He doesn't rate his talent as much as his repetition and hard work.
01:44Perhaps, perhaps.
01:45I think it's a bit of both.
01:46I think the talent's not quite enough.
01:49You have to, like, work at it.
01:51And we've had training, on-the-job training.
01:54We've, you know, plays, theatre, theatre, theatre, you know?
01:58And I think through that, you learn, you fail and you succeed
02:02and, you know, you eventually get it right.
02:05Is it important to you to be a good, like an unselfish performer in a way?
02:11Especially when you're working on...
02:12Yeah.
02:12Well, that also comes from my training.
02:14Meisner training is about listening and playing tennis, you know?
02:18You gotta stay flexible.
02:20Yoga.
02:22Yeah, yeah.
02:23I mean, you know, John's good that way.
02:25He's flexible.
02:26Well, John's, like, famously this incredible, like, instinctive actor, I think.
02:31Yes.
02:32It's fair to say.
02:33And Martin suggested you were perfect for this role
02:35because it was the hardest role to cast in the film
02:37because there's such a tonal shift.
02:39You're playing a man who's, like, it's flip-flops
02:42between, like, warmth and cynicism, frailty, bullishness, lucidity,
02:46and confusion.
02:47How much of a challenge was that for someone like yourself?
02:51And does it help working opposite a friend and someone you know very well?
02:55Well, Sam's a fantastic colleague, and he hits the ball back hard
03:02or with a lot of spin or barely, and you have to run and fetch it.
03:12I don't find it difficult.
03:14What I find difficult is finding a role that merits it,
03:19meaning I don't think of acting as difficult.
03:23I think of it as kind of a being, a state of being.
03:29That's what this character does.
03:32He's thinking about this.
03:33He's fully committed to it.
03:35You say something, and I say to you,
03:38who died and made you Arch Pussy Ferdinand.
03:42Now, what does that mean?
03:43Those gears all shift flawlessly in Martin's writing.
03:50You're just, you know, this is reverse, this is first,
03:54this is second, this is third, this is fourth, this is fifth,
03:57this is sixth.
03:58These are the breaks, this is the blinker, the direction signal.
04:06So for me, acting is, I don't find it difficult.
04:16It's in great material, it's to me obvious what to do,
04:23and then to a director he has to choose from what you provide.
04:31And Martin, in a way, of course, on this has two jobs.
04:36One is he's a writer and the other is he's the director.
04:39He's the one who has to choose which he prefers
04:42of the realizations of what he's written.
04:46So I think the credit for the performance goes to Martin.
04:50Some of the facial expressions, I did wonder how much you guys
04:53pushed each other during the scenes and how your characters might
04:55changed over the course of them just because of how you...
04:58A lot, a lot, because Sam and I work a lot.
05:02We worked a lot together all weekends.
05:05I don't think we ever had a weekend off.
05:07No, no, we were always running lines and pushing each other.
05:10And did it at work while doing other things.
05:14We ran other lines that were to come.
05:20But Sam is someone who's a fantastic colleague and loves work.
05:27And I think one thing we certainly share is we still love the work,
05:37just the work.
05:38Our work is great fun and very interesting and very instructive about people.
05:48And we love it.
05:51So it's never really worked then.
05:54Let's go.
