Trevor Smith (actor)

Transcription

LET'S LISTEN IN AS ED VISITS WITH ACTOR NICHOLAS SMITH. MR. RUMBOLD OF "ARE YOU BEING WITH ACTOR NICHOLAS SMITH. MR. RUMBOLD OF "ARE YOU BEING SERVED". MR. RUMBOLD OF "ARE YOU BEING SERVED". >>WELL, I AM THINKING OF BACK TO SERVED". >>WELL, I AM THINKING OF BACK TO MARCH 5 OF 199 -- 1934, DATE OF >>WELL, I AM THINKING OF BACK TO MARCH 5 OF 199 -- 1934, DATE OF BIRTH. MARCH 5 OF 199 -- 1934, DATE OF BIRTH. >>DATE OF BIRTH. BIRTH. >>DATE OF BIRTH. >>DANCE STUDYING. >>DATE OF BIRTH. >>DANCE STUDYING. >>DANCED IN ENGLAND, YES. >>DANCE STUDYING. >>DANCED IN ENGLAND, YES. >>SURI, NOT TOO FAR FROM LONDON. >>DANCED IN ENGLAND, YES. >>SURI, NOT TOO FAR FROM LONDON. >>THE CITY IS PART OF LONDON, >>SURI, NOT TOO FAR FROM LONDON. >>THE CITY IS PART OF LONDON, SUTNEY IS WHERE I LIVE NOUN. >>THE CITY IS PART OF LONDON, SUTNEY IS WHERE I LIVE NOUN. LONDON IS SO ENORMOUS. SUTNEY IS WHERE I LIVE NOUN. LONDON IS SO ENORMOUS. IT SPREADS OUT SO WIDELY. LONDON IS SO ENORMOUS. IT SPREADS OUT SO WIDELY. YOU ARE TALKING ABOUT IN LONDON IT SPREADS OUT SO WIDELY. YOU ARE TALKING ABOUT IN LONDON OR OUT OF LONDON, AND YOU ARE YOU ARE TALKING ABOUT IN LONDON OR OUT OF LONDON, AND YOU ARE INCLUDING THE SUBURBS. OR OUT OF LONDON, AND YOU ARE INCLUDING THE SUBURBS. >>POPULATION 8,500 THEN. INCLUDING THE SUBURBS. >>POPULATION 8,500 THEN. >>THEN, MORE LIKE 12 NOW I >>POPULATION 8,500 THEN. >>THEN, MORE LIKE 12 NOW I THINK. >>THEN, MORE LIKE 12 NOW I THINK. >>HUGE. THINK. >>HUGE. >>IT IS VAST. >>HUGE. >>IT IS VAST. IF YOU DRIVE, IF ARE YOU FOOLISH >>IT IS VAST. IF YOU DRIVE, IF ARE YOU FOOLISH ENOUGH TO DRIVE THROUGH LONDON, IF YOU DRIVE, IF ARE YOU FOOLISH ENOUGH TO DRIVE THROUGH LONDON, YOU DRIVE -- IT WOULD TAKE YOU ENOUGH TO DRIVE THROUGH LONDON, YOU DRIVE -- IT WOULD TAKE YOU TWO AND A HALF HOURS JUST TO YOU DRIVE -- IT WOULD TAKE YOU TWO AND A HALF HOURS JUST TO DRIVE THROUGHOUT CITY. TWO AND A HALF HOURS JUST TO DRIVE THROUGHOUT CITY. >>YOUR FATHER WAS A BIT OF A DRIVE THROUGHOUT CITY. >>YOUR FATHER WAS A BIT OF A SURVEYOR. >>YOUR FATHER WAS A BIT OF A SURVEYOR. >>A CHARTERED SURVEYOR. SURVEYOR. >>A CHARTERED SURVEYOR. >>MATHEMATICAL BACKGROUND. >>A CHARTERED SURVEYOR. >>MATHEMATICAL BACKGROUND. >>YES. >>MATHEMATICAL BACKGROUND. >>YES. >>AND YOUR DAUGHTER, CATHERINE >>YES. >>AND YOUR DAUGHTER, CATHERINE ACCOMPLISHED ACTRESS. >>AND YOUR DAUGHTER, CATHERINE ACCOMPLISHED ACTRESS. SHE IS EXTREMELY GOOD. ACCOMPLISHED ACTRESS. SHE IS EXTREMELY GOOD. I AM BIASED, BUT SHE IS SHE IS EXTREMELY GOOD. I AM BIASED, BUT SHE IS EXTREMELY GOOD. I AM BIASED, BUT SHE IS EXTREMELY GOOD. >>YOUR EDUCATION, PRIMARY. EXTREMELY GOOD. >>YOUR EDUCATION, PRIMARY. WHERE DID YOU GET YOUR PRIMARY >>YOUR EDUCATION, PRIMARY. WHERE DID YOU GET YOUR PRIMARY EDUCATION. WHERE DID YOU GET YOUR PRIMARY EDUCATION. >> WHEN I WAS FOUR, MY PARENTS EDUCATION. >> WHEN I WAS FOUR, MY PARENTS SENT ME TO KINDERGARTEN. >> WHEN I WAS FOUR, MY PARENTS SENT ME TO KINDERGARTEN. I WAS COMPLETELY PRIVATELY SENT ME TO KINDERGARTEN. I WAS COMPLETELY PRIVATELY EDUCATED THROUGHOUT WHICH IS I WAS COMPLETELY PRIVATELY EDUCATED THROUGHOUT WHICH IS NORMAL FOR MIDDLE CLASS PEOPLE EDUCATED THROUGHOUT WHICH IS NORMAL FOR MIDDLE CLASS PEOPLE IN BRITAIN. NORMAL FOR MIDDLE CLASS PEOPLE IN BRITAIN. OF COURSE, THE WAR BROKE OUT IN IN BRITAIN. OF COURSE, THE WAR BROKE OUT IN '39, AND MY FATHER SENT MY OF COURSE, THE WAR BROKE OUT IN '39, AND MY FATHER SENT MY MOTHER AND MYSELF AWAY DOWN BY '39, AND MY FATHER SENT MY MOTHER AND MYSELF AWAY DOWN BY HIS PARENTS, IN THE WEST COUNTRY MOTHER AND MYSELF AWAY DOWN BY HIS PARENTS, IN THE WEST COUNTRY HE WAS LIKE MANY PEOPLE, HE HIS PARENTS, IN THE WEST COUNTRY HE WAS LIKE MANY PEOPLE, HE THOUGHT THERE WOULD BE INSTANT HE WAS LIKE MANY PEOPLE, HE THOUGHT THERE WOULD BE INSTANT BLANKET BOMBING, IN FACT, THERE THOUGHT THERE WOULD BE INSTANT BLANKET BOMBING, IN FACT, THERE WASN'T FOR SOME TIME. BLANKET BOMBING, IN FACT, THERE WASN'T FOR SOME TIME. BUT I FINISHED UP GOING TO SEVEN WASN'T FOR SOME TIME. BUT I FINISHED UP GOING TO SEVEN DIFFERENT SCHOOLS BECAUSE OF THE BUT I FINISHED UP GOING TO SEVEN DIFFERENT SCHOOLS BECAUSE OF THE WAR. DIFFERENT SCHOOLS BECAUSE OF THE WAR. >>PRIVATE SCHOOLS. WAR. >>PRIVATE SCHOOLS. >>PRIVATE SCHOOLS, YES. >>PRIVATE SCHOOLS. >>PRIVATE SCHOOLS, YES. >>THEN THE ROYAL CANME. >>PRIVATE SCHOOLS, YES. >>THEN THE ROYAL CANME. >>RADAVA, YES. >>THEN THE ROYAL CANME. >>RADAVA, YES. >>HOW DID THAT OCCUR? >>RADAVA, YES. >>HOW DID THAT OCCUR? >> WELL, MY FATHER, ALTHOUGH HE >>HOW DID THAT OCCUR? >> WELL, MY FATHER, ALTHOUGH HE WAS ENTHUSIASTIC THEATER GOER, >> WELL, MY FATHER, ALTHOUGH HE WAS ENTHUSIASTIC THEATER GOER, DIDN'T WANT ME TO BECOME AN WAS ENTHUSIASTIC THEATER GOER, DIDN'T WANT ME TO BECOME AN ACTOR. DIDN'T WANT ME TO BECOME AN ACTOR. THEY WERE SAYING YOU WANT YOUR ACTOR. THEY WERE SAYING YOU WANT YOUR SON TO BE AND ACTOR, RIDICULOUS THEY WERE SAYING YOU WANT YOUR SON TO BE AND ACTOR, RIDICULOUS PROGRESSION. SON TO BE AND ACTOR, RIDICULOUS PROGRESSION. HE SAID COULDN'T YOU DO PROGRESSION. HE SAID COULDN'T YOU DO SOMETHING ELSE? HE SAID COULDN'T YOU DO SOMETHING ELSE? I CAN'T DO ANYTHING ELSE. SOMETHING ELSE? I CAN'T DO ANYTHING ELSE. I AM DETERMINED TO BE AN ACTOR. I CAN'T DO ANYTHING ELSE. I AM DETERMINED TO BE AN ACTOR. WHILE I WAS IN THE ARMY, I DID I AM DETERMINED TO BE AN ACTOR. WHILE I WAS IN THE ARMY, I DID TWO YEARS IN THE ARMY. WHILE I WAS IN THE ARMY, I DID TWO YEARS IN THE ARMY. HE SAID "WELL, I WILL HAVE AN TWO YEARS IN THE ARMY. HE SAID "WELL, I WILL HAVE AN AGREEMENT WITH YOU, IF YOU CAN HE SAID "WELL, I WILL HAVE AN AGREEMENT WITH YOU, IF YOU CAN GET INTO RATHER, THE ONLY ACTING AGREEMENT WITH YOU, IF YOU CAN GET INTO RATHER, THE ONLY ACTING SCHOOL, IF YOU CAN GET IN, I GET INTO RATHER, THE ONLY ACTING SCHOOL, IF YOU CAN GET IN, I WILL PAY FOR THE COURSE. SCHOOL, IF YOU CAN GET IN, I WILL PAY FOR THE COURSE. IF YOU CAN'T GET IN, IF THEY WILL PAY FOR THE COURSE. IF YOU CAN'T GET IN, IF THEY WON'T TAKE YOU, WILL YOU AGREE IF YOU CAN'T GET IN, IF THEY WON'T TAKE YOU, WILL YOU AGREE TO GIVE IT UP, AND UNDERTAKING WON'T TAKE YOU, WILL YOU AGREE TO GIVE IT UP, AND UNDERTAKING MORE SENSIBLE PROFESSION? TO GIVE IT UP, AND UNDERTAKING MORE SENSIBLE PROFESSION? I SAID "YES, OF COURSE OF THE" MORE SENSIBLE PROFESSION? I SAID "YES, OF COURSE OF THE" WITH TOTAL CONFIDENCE OF YOUTH, I SAID "YES, OF COURSE OF THE" WITH TOTAL CONFIDENCE OF YOUTH, AND OF COURSE, I WENT STRAIGHT WITH TOTAL CONFIDENCE OF YOUTH, AND OF COURSE, I WENT STRAIGHT IN. AND OF COURSE, I WENT STRAIGHT IN. >>YOU SAY THIS ACTING IS NOT IN. >>YOU SAY THIS ACTING IS NOT SOMETHING ONE SHOULD PURSUE. >>YOU SAY THIS ACTING IS NOT SOMETHING ONE SHOULD PURSUE. COULD YOU ENLARGE ON THAT? SOMETHING ONE SHOULD PURSUE. COULD YOU ENLARGE ON THAT? I AM NOT SURE I UNDERSTAND. COULD YOU ENLARGE ON THAT? I AM NOT SURE I UNDERSTAND. >> WELL, IF YOU CAN PERSUADE I AM NOT SURE I UNDERSTAND. >> WELL, IF YOU CAN PERSUADE PEOPLE NOT TO BECOME AN ACTOR, >> WELL, IF YOU CAN PERSUADE PEOPLE NOT TO BECOME AN ACTOR, THEN YOU SHOULD. PEOPLE NOT TO BECOME AN ACTOR, THEN YOU SHOULD. IF YOU CAN'T PURSUADE THEM NOT THEN YOU SHOULD. IF YOU CAN'T PURSUADE THEM NOT TO GIVE IT UP, THERE IS NOTHING IF YOU CAN'T PURSUADE THEM NOT TO GIVE IT UP, THERE IS NOTHING YOU CAN DO. TO GIVE IT UP, THERE IS NOTHING YOU CAN DO. THEY HAVE TO BECOME ACTORS YOU CAN DO. THEY HAVE TO BECOME ACTORS ANYHOW. THEY HAVE TO BECOME ACTORS ANYHOW. BUT IT IS THE MOST DIFFICULT ANYHOW. BUT IT IS THE MOST DIFFICULT PROFESSION. BUT IT IS THE MOST DIFFICULT PROFESSION. WE HAVE AT LEAST 75, 80% ALL PROFESSION. WE HAVE AT LEAST 75, 80% ALL ACTORS ARE UNEMPLOYED AT ANY WE HAVE AT LEAST 75, 80% ALL ACTORS ARE UNEMPLOYED AT ANY GIVEN MOMENT. ACTORS ARE UNEMPLOYED AT ANY GIVEN MOMENT. AND YOUR CHANCES OF SUCCESS ARE GIVEN MOMENT. AND YOUR CHANCES OF SUCCESS ARE SO REMOTE, SO REMOTE. AND YOUR CHANCES OF SUCCESS ARE SO REMOTE, SO REMOTE. AND THERE IS ONLY ONE REASON FOR SO REMOTE, SO REMOTE. AND THERE IS ONLY ONE REASON FOR BEING AN ACTOR, AND THAT IS AND THERE IS ONLY ONE REASON FOR BEING AN ACTOR, AND THAT IS PASSIONATELY DEVOTED TO THE BEING AN ACTOR, AND THAT IS PASSIONATELY DEVOTED TO THE WORK. PASSIONATELY DEVOTED TO THE WORK. THE WORK IS WHAT MAKES IT ALL WORK. THE WORK IS WHAT MAKES IT ALL WORTHWHILE. THE WORK IS WHAT MAKES IT ALL WORTHWHILE. ACTORS WOULD RATHER WORK THAN GO WORTHWHILE. ACTORS WOULD RATHER WORK THAN GO ON HOLIDAY. ACTORS WOULD RATHER WORK THAN GO ON HOLIDAY. GIVE AN ACTOR TWO WEEKS HOLIDAY ON HOLIDAY. GIVE AN ACTOR TWO WEEKS HOLIDAY IN ANYWHERE IN THE WORLD OR GIVE AN ACTOR TWO WEEKS HOLIDAY IN ANYWHERE IN THE WORLD OR ANOTHER JOB, HE WILL TAKE THE IN ANYWHERE IN THE WORLD OR ANOTHER JOB, HE WILL TAKE THE WORK. ANOTHER JOB, HE WILL TAKE THE WORK. HE'D RATHER WORK THAN GO ON WORK. HE'D RATHER WORK THAN GO ON HOLIDAY. HE'D RATHER WORK THAN GO ON HOLIDAY. I AM THINKING ABOUT THE FUNDING HOLIDAY. I AM THINKING ABOUT THE FUNDING OF THE ARTS AND ACTING, IN THE I AM THINKING ABOUT THE FUNDING OF THE ARTS AND ACTING, IN THE U.S. VERSUS THE UK, THE OF THE ARTS AND ACTING, IN THE U.S. VERSUS THE UK, THE DIFFERENCE. U.S. VERSUS THE UK, THE DIFFERENCE. THERE IS A TV TAX, IS THERE NOT, DIFFERENCE. THERE IS A TV TAX, IS THERE NOT, THAT HELPS FUND? THERE IS A TV TAX, IS THERE NOT, THAT HELPS FUND? >> YOU PAY A LICENSE. THAT HELPS FUND? >> YOU PAY A LICENSE. IF YOU OWN A TELEVISION SET, YOU >> YOU PAY A LICENSE. IF YOU OWN A TELEVISION SET, YOU PAY A TELEVISION LICENSE. IF YOU OWN A TELEVISION SET, YOU PAY A TELEVISION LICENSE. THAT FUNDS THE BBC. PAY A TELEVISION LICENSE. THAT FUNDS THE BBC. >>VERSUS THE U.S., DONORS FUND THAT FUNDS THE BBC. >>VERSUS THE U.S., DONORS FUND PBS, FOR EXAMPLE,. >>VERSUS THE U.S., DONORS FUND PBS, FOR EXAMPLE,. >>YES, BUT IT IS ALL VOLUNTARY. PBS, FOR EXAMPLE,. >>YES, BUT IT IS ALL VOLUNTARY. >>YES. >>YES, BUT IT IS ALL VOLUNTARY. >>YES. IS THAT A GOOD THING OR BAD >>YES. IS THAT A GOOD THING OR BAD THING? IS THAT A GOOD THING OR BAD THING? IMPACT ON CREATIVITY OR NOT? THING? IMPACT ON CREATIVITY OR NOT? >> IS IT BETTER TO EAT WITH IMPACT ON CREATIVITY OR NOT? >> IS IT BETTER TO EAT WITH KNIFE AND FORK OR PUT THE KNIFE >> IS IT BETTER TO EAT WITH KNIFE AND FORK OR PUT THE KNIFE DOWN AND EAT WITH A FORK? KNIFE AND FORK OR PUT THE KNIFE DOWN AND EAT WITH A FORK? >> YOU ANSWER THAT QUESTION. DOWN AND EAT WITH A FORK? >> YOU ANSWER THAT QUESTION. IT IS A QUAL IT TA TIVE ISSUE. >> YOU ANSWER THAT QUESTION. IT IS A QUAL IT TA TIVE ISSUE. >>YES. IT IS A QUAL IT TA TIVE ISSUE. >>YES. YOU CAN'T COMPARE THE TWO >>YES. YOU CAN'T COMPARE THE TWO SYSTEMS. YOU CAN'T COMPARE THE TWO SYSTEMS. I THINK THE MAIN DIFFERENCE FOR SYSTEMS. I THINK THE MAIN DIFFERENCE FOR AN ACTOR IN BRITAIN IS THAT WE I THINK THE MAIN DIFFERENCE FOR AN ACTOR IN BRITAIN IS THAT WE DO TELEVISION THEATER AND FILMS AN ACTOR IN BRITAIN IS THAT WE DO TELEVISION THEATER AND FILMS AND RADIO. DO TELEVISION THEATER AND FILMS AND RADIO. THERE IS NO SUCH THING IN AND RADIO. THERE IS NO SUCH THING IN BRITAIN AS A TELEVISION ACTOR OR THERE IS NO SUCH THING IN BRITAIN AS A TELEVISION ACTOR OR THEATER ACTOR. BRITAIN AS A TELEVISION ACTOR OR THEATER ACTOR. THEY ARE JUST ACTORS. THEATER ACTOR. THEY ARE JUST ACTORS. >>I NOTICED IN LOOKING AT YOUR THEY ARE JUST ACTORS. >>I NOTICED IN LOOKING AT YOUR BACKGROUND, I SAW ALL SORTS OF >>I NOTICED IN LOOKING AT YOUR BACKGROUND, I SAW ALL SORTS OF CREDITS, FIRST NON-SPEAK EXTRA BACKGROUND, I SAW ALL SORTS OF CREDITS, FIRST NON-SPEAK EXTRA IN ONE OF YOUR EARLY ROLES, AND CREDITS, FIRST NON-SPEAK EXTRA IN ONE OF YOUR EARLY ROLES, AND AS TIME WENT ON, YOU HAVE IN ONE OF YOUR EARLY ROLES, AND AS TIME WENT ON, YOU HAVE EVERYTHING FROM FILM, TO AS TIME WENT ON, YOU HAVE EVERYTHING FROM FILM, TO TELEVISION, TO RADIO, TO EVERYTHING FROM FILM, TO TELEVISION, TO RADIO, TO THEATER, JUST EVERYTHING. TELEVISION, TO RADIO, TO THEATER, JUST EVERYTHING. >>YEAH, WE CAN ALL DO THAT THEATER, JUST EVERYTHING. >>YEAH, WE CAN ALL DO THAT BECAUSE OF THE SIZE OF THE >>YEAH, WE CAN ALL DO THAT BECAUSE OF THE SIZE OF THE COUNTRY. BECAUSE OF THE SIZE OF THE COUNTRY. WHEN I WAS WORKING ON BROADWAY, COUNTRY. WHEN I WAS WORKING ON BROADWAY, IN 1968, FOR EXAMPLE, I WAS WHEN I WAS WORKING ON BROADWAY, IN 1968, FOR EXAMPLE, I WAS TALKING TO THE ACTORS THERE, AND IN 1968, FOR EXAMPLE, I WAS TALKING TO THE ACTORS THERE, AND THEY SAID "WE CAN'T DO TALKING TO THE ACTORS THERE, AND THEY SAID "WE CAN'T DO TELEVISION OR FILMS BECAUSE THEY THEY SAID "WE CAN'T DO TELEVISION OR FILMS BECAUSE THEY ARE NOT MADE IN NEW YORK." TELEVISION OR FILMS BECAUSE THEY ARE NOT MADE IN NEW YORK." IF I WANT TO DO A FILM, HE SAYS ARE NOT MADE IN NEW YORK." IF I WANT TO DO A FILM, HE SAYS I HAVE TO GO WITH EVERY TWO, IF I WANT TO DO A FILM, HE SAYS I HAVE TO GO WITH EVERY TWO, THREE THOUSAND MILES, CAN'T I HAVE TO GO WITH EVERY TWO, THREE THOUSAND MILES, CAN'T AFFORD IT. THREE THOUSAND MILES, CAN'T AFFORD IT. CAN'T AFFORD IT, THERE IS NO AFFORD IT. CAN'T AFFORD IT, THERE IS NO THEATER. CAN'T AFFORD IT, THERE IS NO THEATER. WHEREBY AS I CAN GO FROM ONE THEATER. WHEREBY AS I CAN GO FROM ONE STRAIGHT TO THE OTHER. WHEREBY AS I CAN GO FROM ONE STRAIGHT TO THE OTHER. >>SO YET THERE ARE DIFFERENCES STRAIGHT TO THE OTHER. >>SO YET THERE ARE DIFFERENCES IN THESE DIFFERENT COMMUNICATION >>SO YET THERE ARE DIFFERENCES IN THESE DIFFERENT COMMUNICATION DEVICE, DIFFERENT MEDIA. IN THESE DIFFERENT COMMUNICATION DEVICE, DIFFERENT MEDIA. IT IS REMARKABLY DIFFERENT, DEVICE, DIFFERENT MEDIA. IT IS REMARKABLY DIFFERENT, RADIO VERSUS TV, YET, YOU ARE IT IS REMARKABLY DIFFERENT, RADIO VERSUS TV, YET, YOU ARE EQUIPPED TO DO ALL OF THEM, AND RADIO VERSUS TV, YET, YOU ARE EQUIPPED TO DO ALL OF THEM, AND YOU HAVE DONE ALL OF THEM. EQUIPPED TO DO ALL OF THEM, AND YOU HAVE DONE ALL OF THEM. >>WELL, IT IS A DIFFERENT YOU HAVE DONE ALL OF THEM. >>WELL, IT IS A DIFFERENT ATTITUDE. >>WELL, IT IS A DIFFERENT ATTITUDE. I MEAN IF ARE YOU IN A FILM, YOU ATTITUDE. I MEAN IF ARE YOU IN A FILM, YOU HAVE TO REMEMBER YOUR FACE HAS I MEAN IF ARE YOU IN A FILM, YOU HAVE TO REMEMBER YOUR FACE HAS TO BE EIGHT FEET HIGH. HAVE TO REMEMBER YOUR FACE HAS TO BE EIGHT FEET HIGH. YOU CAN'T DO ALL KINDS OF TO BE EIGHT FEET HIGH. YOU CAN'T DO ALL KINDS OF STRANGE EXPRESSIONS BECAUSE YOU YOU CAN'T DO ALL KINDS OF STRANGE EXPRESSIONS BECAUSE YOU LOOK COMPLETELY INSANE. STRANGE EXPRESSIONS BECAUSE YOU LOOK COMPLETELY INSANE. IN THE THEATER, EVERYTHING HAS LOOK COMPLETELY INSANE. IN THE THEATER, EVERYTHING HAS TO BE SLIGHTLY EXAGGERATED IN THE THEATER, EVERYTHING HAS TO BE SLIGHTLY EXAGGERATED OTHERWISE YOU APPEAR TO BE VERY TO BE SLIGHTLY EXAGGERATED OTHERWISE YOU APPEAR TO BE VERY DULL. OTHERWISE YOU APPEAR TO BE VERY DULL. >> SO THERE IS A REMARKABLE DULL. >> SO THERE IS A REMARKABLE DIFFERENCE IN YOUR PHYSICAL >> SO THERE IS A REMARKABLE DIFFERENCE IN YOUR PHYSICAL ATTITUDE, YOUR PRESENTATION, AND DIFFERENCE IN YOUR PHYSICAL ATTITUDE, YOUR PRESENTATION, AND RADIO, OF COURSE, DOESN'T MAKE ATTITUDE, YOUR PRESENTATION, AND RADIO, OF COURSE, DOESN'T MAKE ANY DIFFERENCE WHAT YOU LOOK RADIO, OF COURSE, DOESN'T MAKE ANY DIFFERENCE WHAT YOU LOOK LIKE. ANY DIFFERENCE WHAT YOU LOOK LIKE. >>NO. LIKE. >>NO. NO. >>NO. NO. I HAVEN'T DONE A GREAT NO. I HAVEN'T DONE A GREAT DEFENSIVELY RADIO. I HAVEN'T DONE A GREAT DEFENSIVELY RADIO. I DID FOR 18 MONTHS I DID A DEFENSIVELY RADIO. I DID FOR 18 MONTHS I DID A THING CALLED POETRY CORNER WHERE I DID FOR 18 MONTHS I DID A THING CALLED POETRY CORNER WHERE WE READ POEMS, AND I READ THE THING CALLED POETRY CORNER WHERE WE READ POEMS, AND I READ THE POEMS AND PLAYED THE MUSICAL WE READ POEMS, AND I READ THE POEMS AND PLAYED THE MUSICAL BACKGROUND FOR IT. POEMS AND PLAYED THE MUSICAL BACKGROUND FOR IT. I DID ONE OR TWO, THE PLAY WE BACKGROUND FOR IT. I DID ONE OR TWO, THE PLAY WE TOOK TO KNOW, THE PORTRAIT OF A I DID ONE OR TWO, THE PLAY WE TOOK TO KNOW, THE PORTRAIT OF A QUEEN, WE DID A RADIO VERSION. TOOK TO KNOW, THE PORTRAIT OF A QUEEN, WE DID A RADIO VERSION. I HAVE NEVER BEEN INTERESTED IN QUEEN, WE DID A RADIO VERSION. I HAVE NEVER BEEN INTERESTED IN RADIO. I HAVE NEVER BEEN INTERESTED IN RADIO. >>WHY IS THAT? RADIO. >>WHY IS THAT? >> BECAUSE YOU DON'T APPEAR. >>WHY IS THAT? >> BECAUSE YOU DON'T APPEAR. I FEEL SOME SORT OF HALF >> BECAUSE YOU DON'T APPEAR. I FEEL SOME SORT OF HALF WORKING. I FEEL SOME SORT OF HALF WORKING. IT WOULD BE LIKE BEING IN WORKING. IT WOULD BE LIKE BEING IN SOMETHING WE SHOULDN'T BE IT WOULD BE LIKE BEING IN SOMETHING WE SHOULDN'T BE ALLOWED TO SPEAK. SOMETHING WE SHOULDN'T BE ALLOWED TO SPEAK. >> CATHERINE RUSSELL, YOUR ALLOWED TO SPEAK. >> CATHERINE RUSSELL, YOUR DAUGHTER. >> CATHERINE RUSSELL, YOUR DAUGHTER. >>THAT'S MY DAUGHTER, YES. DAUGHTER. >>THAT'S MY DAUGHTER, YES. >>WHEN DID SHE FIRST GET THE >>THAT'S MY DAUGHTER, YES. >>WHEN DID SHE FIRST GET THE URGE TO ACT? >>WHEN DID SHE FIRST GET THE URGE TO ACT? >> WELL, LIKE ME, SHE FELL IN URGE TO ACT? >> WELL, LIKE ME, SHE FELL IN LOVE WITH IT IN SCHOOL. >> WELL, LIKE ME, SHE FELL IN LOVE WITH IT IN SCHOOL. >>AT YOUR AGE? LOVE WITH IT IN SCHOOL. >>AT YOUR AGE? >> I THINK -- I THINK PERHAPS >>AT YOUR AGE? >> I THINK -- I THINK PERHAPS NOT QUITE AS YOUNG AS I WAS, >> I THINK -- I THINK PERHAPS NOT QUITE AS YOUNG AS I WAS, MORE LIKE SORT OF NINE OR TEN. NOT QUITE AS YOUNG AS I WAS, MORE LIKE SORT OF NINE OR TEN. >>AND IN YOUR CASE? MORE LIKE SORT OF NINE OR TEN. >>AND IN YOUR CASE? >> IN MY CASE, IT WAS SEVEN. >>AND IN YOUR CASE? >> IN MY CASE, IT WAS SEVEN. THE CIRCUMSTANCES, THIS JUST >> IN MY CASE, IT WAS SEVEN. THE CIRCUMSTANCES, THIS JUST CAME LIKE A COMMENT OR YOU KNEW THE CIRCUMSTANCES, THIS JUST CAME LIKE A COMMENT OR YOU KNEW THIS WAS WHAT YOU WERE GOING TO CAME LIKE A COMMENT OR YOU KNEW THIS WAS WHAT YOU WERE GOING TO DO AT AGE SEVEN? THIS WAS WHAT YOU WERE GOING TO DO AT AGE SEVEN? WHEN DID YOU FIRST REALIZE THIS DO AT AGE SEVEN? WHEN DID YOU FIRST REALIZE THIS WAS YOUR PASSION? WHEN DID YOU FIRST REALIZE THIS WAS YOUR PASSION? >> WELL, THE WAR HAD JUST WAS YOUR PASSION? >> WELL, THE WAR HAD JUST STARTED, AND MY MOTHER WHO WAS >> WELL, THE WAR HAD JUST STARTED, AND MY MOTHER WHO WAS AN ACTRESS, SHE REALLY SHOULD STARTED, AND MY MOTHER WHO WAS AN ACTRESS, SHE REALLY SHOULD HAVE BEEN IN THE THEATER, BUT AN ACTRESS, SHE REALLY SHOULD HAVE BEEN IN THE THEATER, BUT THINGS PREVENTED THAT, PUT ON A HAVE BEEN IN THE THEATER, BUT THINGS PREVENTED THAT, PUT ON A SHOW. THINGS PREVENTED THAT, PUT ON A SHOW. I WAS TOLD RIGHT, YOU KNOW, NOW SHOW. I WAS TOLD RIGHT, YOU KNOW, NOW YOU HAVE GOT TO LEARN HISTORY I WAS TOLD RIGHT, YOU KNOW, NOW YOU HAVE GOT TO LEARN HISTORY AND NOW YOU HAVE GOT TO PLAY YOU HAVE GOT TO LEARN HISTORY AND NOW YOU HAVE GOT TO PLAY FOOTBALL. AND NOW YOU HAVE GOT TO PLAY FOOTBALL. NOW YOU HAVE TO CLEAN YOUR FOOTBALL. NOW YOU HAVE TO CLEAN YOUR TEETH, AND NOW YOU HAVE GOT TO NOW YOU HAVE TO CLEAN YOUR TEETH, AND NOW YOU HAVE GOT TO SING A SONG. TEETH, AND NOW YOU HAVE GOT TO SING A SONG. I WAS DEPRESSINGLY GOOD CHILD. SING A SONG. I WAS DEPRESSINGLY GOOD CHILD. I NEVER FELT LIKE REBELLING OR I WAS DEPRESSINGLY GOOD CHILD. I NEVER FELT LIKE REBELLING OR ANYTHING. I NEVER FELT LIKE REBELLING OR ANYTHING. NOTHING TO REBELL AGAINST. ANYTHING. NOTHING TO REBELL AGAINST. I LEARNED THIS SONG, AND IT NOTHING TO REBELL AGAINST. I LEARNED THIS SONG, AND IT MEANT NOTHING TO ME AT ALL. I LEARNED THIS SONG, AND IT MEANT NOTHING TO ME AT ALL. AND THEN CAME THE DAY OF THE MEANT NOTHING TO ME AT ALL. AND THEN CAME THE DAY OF THE PERFORMANCE, AND I WENT ON IN AND THEN CAME THE DAY OF THE PERFORMANCE, AND I WENT ON IN FRONT OF AUDIENCE OF I BELIEVE PERFORMANCE, AND I WENT ON IN FRONT OF AUDIENCE OF I BELIEVE 700 PEOPLE. FRONT OF AUDIENCE OF I BELIEVE 700 PEOPLE. I WALKED ON STAGE AND I COULDN'T 700 PEOPLE. I WALKED ON STAGE AND I COULDN'T HAVE PUT INTO WORDS AT THAT AGE I WALKED ON STAGE AND I COULDN'T HAVE PUT INTO WORDS AT THAT AGE OBVIOUSLY, BUT I CAN REMEMBER HAVE PUT INTO WORDS AT THAT AGE OBVIOUSLY, BUT I CAN REMEMBER THE FEELING, AND THE FEELING WAS OBVIOUSLY, BUT I CAN REMEMBER THE FEELING, AND THE FEELING WAS IT WAS LIKE COMING HOME. THE FEELING, AND THE FEELING WAS IT WAS LIKE COMING HOME. THIS WAS MY NICHE. IT WAS LIKE COMING HOME. THIS WAS MY NICHE. >>AT AGE NEVER. THIS WAS MY NICHE. >>AT AGE NEVER. >>AT AGE SEVEN. >>AT AGE NEVER. >>AT AGE SEVEN. I UNDERSTAND YOU ARE FAIRLY GOOD >>AT AGE SEVEN. I UNDERSTAND YOU ARE FAIRLY GOOD AT ALL SORTS OF MUSICAL I UNDERSTAND YOU ARE FAIRLY GOOD AT ALL SORTS OF MUSICAL INSTRUMENTS. AT ALL SORTS OF MUSICAL INSTRUMENTS. >>I AM FAIRLY GOOD. INSTRUMENTS. >>I AM FAIRLY GOOD. I COULD NEVER EARN A LIVING AS >>I AM FAIRLY GOOD. I COULD NEVER EARN A LIVING AS MUSICIAN. I COULD NEVER EARN A LIVING AS MUSICIAN. MUSIC IS VERY IS VALUABLE TO ME, MUSICIAN. MUSIC IS VERY IS VALUABLE TO ME, THE MOCATTO, PENSANCE, AND MY MUSIC IS VERY IS VALUABLE TO ME, THE MOCATTO, PENSANCE, AND MY FAIR LADY AND SO ON. THE MOCATTO, PENSANCE, AND MY FAIR LADY AND SO ON. IT WAS VERY USEFUL, THERE WAS A FAIR LADY AND SO ON. IT WAS VERY USEFUL, THERE WAS A SETTING IN THE 18TH CENTURY, THE IT WAS VERY USEFUL, THERE WAS A SETTING IN THE 18TH CENTURY, THE BIGGEST OPERA. SETTING IN THE 18TH CENTURY, THE BIGGEST OPERA. HAVE YOU HEARD OF IS THAT? BIGGEST OPERA. HAVE YOU HEARD OF IS THAT? >> I HEARD THAT. HIS NAME WAS HAVE YOU HEARD OF IS THAT? >> I HEARD THAT. HIS NAME WAS JOHN GAY. >> I HEARD THAT. HIS NAME WAS JOHN GAY. THEY WERE DOING A PLAY, THEY JOHN GAY. THEY WERE DOING A PLAY, THEY KNEW SOMEONE WHO COULD PLAY THE THEY WERE DOING A PLAY, THEY KNEW SOMEONE WHO COULD PLAY THE PART, A WHITE WIG, MADE LIKE KNEW SOMEONE WHO COULD PLAY THE PART, A WHITE WIG, MADE LIKE HIM, AND COULD ALSO SING AND PART, A WHITE WIG, MADE LIKE HIM, AND COULD ALSO SING AND COULD ALSO PLAY A SPINETTE. HIM, AND COULD ALSO SING AND COULD ALSO PLAY A SPINETTE. IT NARROWS THE FIELD IF YOU CAN COULD ALSO PLAY A SPINETTE. IT NARROWS THE FIELD IF YOU CAN IMAGINE. IT NARROWS THE FIELD IF YOU CAN IMAGINE. YOU PLAYED THE TRUMPET, THE IMAGINE. YOU PLAYED THE TRUMPET, THE TROMBONE. YOU PLAYED THE TRUMPET, THE TROMBONE. >>NOT THE TROMBONE. TROMBONE. >>NOT THE TROMBONE. I DON'T PLAY THE TRUMPET ANY >>NOT THE TROMBONE. I DON'T PLAY THE TRUMPET ANY MORE. I DON'T PLAY THE TRUMPET ANY MORE. >>DID YOU? MORE. >>DID YOU? >> YES. >>DID YOU? >> YES. >>WHAT OTHER INSTRUMENTS. >> YES. >>WHAT OTHER INSTRUMENTS. >>PIANO, THIS WAS IT WILL >>WHAT OTHER INSTRUMENTS. >>PIANO, THIS WAS IT WILL ACCORDIAN, AND HOPSINCHORD, >>PIANO, THIS WAS IT WILL ACCORDIAN, AND HOPSINCHORD, GUITAR. ACCORDIAN, AND HOPSINCHORD, GUITAR. >>HOW ABOUT WRITING? GUITAR. >>HOW ABOUT WRITING? >> I HAVE WRITTEN A LOT OF MUSIC >>HOW ABOUT WRITING? >> I HAVE WRITTEN A LOT OF MUSIC , 13 QUARTETS. >> I HAVE WRITTEN A LOT OF MUSIC , 13 QUARTETS. >>CREATIVE WRITING AND POETRY. , 13 QUARTETS. >>CREATIVE WRITING AND POETRY. >>YES, I WRITE POETRY. >>CREATIVE WRITING AND POETRY. >>YES, I WRITE POETRY. >>IS THERE ANYTHING THAT YOU DO >>YES, I WRITE POETRY. >>IS THERE ANYTHING THAT YOU DO NOT DO IN THE ARTISTIC SENSE? >>IS THERE ANYTHING THAT YOU DO NOT DO IN THE ARTISTIC SENSE? >> WELL, I HAVE DONE VERY LITTLE NOT DO IN THE ARTISTIC SENSE? >> WELL, I HAVE DONE VERY LITTLE CLASSICAL BALLET. >> WELL, I HAVE DONE VERY LITTLE CLASSICAL BALLET. >>(LAUGHING). CLASSICAL BALLET. >>(LAUGHING). >>AND ABSOLUTELY NO SYNCHRONIZED >>(LAUGHING). >>AND ABSOLUTELY NO SYNCHRONIZED SWIMMING! (LAUGHING) BALLET, I >>AND ABSOLUTELY NO SYNCHRONIZED SWIMMING! (LAUGHING) BALLET, I AM SHOCKED (LAUGHING) I NEVER SWIMMING! (LAUGHING) BALLET, I AM SHOCKED (LAUGHING) I NEVER EXPECTED YOU -- BALLET, I MEAN I AM SHOCKED (LAUGHING) I NEVER EXPECTED YOU -- BALLET, I MEAN I CAN'T IMAGINE. EXPECTED YOU -- BALLET, I MEAN I CAN'T IMAGINE. >>I HAVEN'T DONE GRAND OPERA OR CAN'T IMAGINE. >>I HAVEN'T DONE GRAND OPERA OR CIRCUS. >>I HAVEN'T DONE GRAND OPERA OR CIRCUS. BUT PRETTY WELL EVERYTHING ELSE. CIRCUS. BUT PRETTY WELL EVERYTHING ELSE. >>COMING DOWN, AFTER A BUT PRETTY WELL EVERYTHING ELSE. >>COMING DOWN, AFTER A PERFORMANCE, HOW LONG DOES IT >>COMING DOWN, AFTER A PERFORMANCE, HOW LONG DOES IT TAKE YOU TO GET TO A O "NORMAL PERFORMANCE, HOW LONG DOES IT TAKE YOU TO GET TO A O "NORMAL STATE?" TAKE YOU TO GET TO A O "NORMAL STATE?" >>AS LONG AS IT TAKES ME TO WALK STATE?" >>AS LONG AS IT TAKES ME TO WALK OFF STAGE. I WALK OFF STAGE, I >>AS LONG AS IT TAKES ME TO WALK OFF STAGE. I WALK OFF STAGE, I AM ME. OFF STAGE. I WALK OFF STAGE, I AM ME. WALK BACK ON, I AM THE AM ME. WALK BACK ON, I AM THE CHARACTER. WALK BACK ON, I AM THE CHARACTER. WHEN DID YOU DEVELOP THIS CHARACTER. WHEN DID YOU DEVELOP THIS ABILITY TO GO OPEN AND CLOSE WHEN DID YOU DEVELOP THIS ABILITY TO GO OPEN AND CLOSE DOORS? ABILITY TO GO OPEN AND CLOSE DOORS? I MEAN HOW LONG -- HOW MANY DOORS? I MEAN HOW LONG -- HOW MANY YEARS AFTER AGE SEVEN DID IT I MEAN HOW LONG -- HOW MANY YEARS AFTER AGE SEVEN DID IT TAKE YOU TO DEVELOP THE OPEN AND YEARS AFTER AGE SEVEN DID IT TAKE YOU TO DEVELOP THE OPEN AND CLOSED DOOR PHILOSOPHY THAT YOU TAKE YOU TO DEVELOP THE OPEN AND CLOSED DOOR PHILOSOPHY THAT YOU JUST EXPRESSED? CLOSED DOOR PHILOSOPHY THAT YOU JUST EXPRESSED? >> WELL, AT SCHOOL, I DON'T JUST EXPRESSED? >> WELL, AT SCHOOL, I DON'T THINK I HAD ANY SORT OF >> WELL, AT SCHOOL, I DON'T THINK I HAD ANY SORT OF PHILOSOPHY. THINK I HAD ANY SORT OF PHILOSOPHY. I JUST DID IT. PHILOSOPHY. I JUST DID IT. ARE RATHER -- NO, NEVER HAD ANY I JUST DID IT. ARE RATHER -- NO, NEVER HAD ANY DIFFICULTY WITH THAT. ARE RATHER -- NO, NEVER HAD ANY DIFFICULTY WITH THAT. TO ME, THERE IS NO PROBLEM. DIFFICULTY WITH THAT. TO ME, THERE IS NO PROBLEM. THE STAGE IS FANTASY. TO ME, THERE IS NO PROBLEM. THE STAGE IS FANTASY. AS SOON AS YOU WALK OFF STAGE, THE STAGE IS FANTASY. AS SOON AS YOU WALK OFF STAGE, YOU ARE BACK INTO NORMAL LIFE. AS SOON AS YOU WALK OFF STAGE, YOU ARE BACK INTO NORMAL LIFE. >>IN LOOKING AT AN ACTOR, A ROLE YOU ARE BACK INTO NORMAL LIFE. >>IN LOOKING AT AN ACTOR, A ROLE THAT YOU ARE ABOUT TO PLAY, DO >>IN LOOKING AT AN ACTOR, A ROLE THAT YOU ARE ABOUT TO PLAY, DO YOU STUDY THAT INDIVIDUAL'S THAT YOU ARE ABOUT TO PLAY, DO YOU STUDY THAT INDIVIDUAL'S BACKGROUND, THAT PERSON'S YOU STUDY THAT INDIVIDUAL'S BACKGROUND, THAT PERSON'S BACKGROUND OR THE CIRCUMSTANCES? BACKGROUND, THAT PERSON'S BACKGROUND OR THE CIRCUMSTANCES? HOW DO YOU GET INVOLVED IN THE BACKGROUND OR THE CIRCUMSTANCES? HOW DO YOU GET INVOLVED IN THE PROCESS? HOW DO YOU GET INVOLVED IN THE PROCESS? >> WELL, IF IT IS A REAL PROCESS? >> WELL, IF IT IS A REAL CHARACTER, THEN YOU CAN READ >> WELL, IF IT IS A REAL CHARACTER, THEN YOU CAN READ BOOKS ABOUT IT. CHARACTER, THEN YOU CAN READ BOOKS ABOUT IT. IF, ON THE OTHER HAND, IT IS 99% BOOKS ABOUT IT. IF, ON THE OTHER HAND, IT IS 99% OF THE TIME IS PURE FICTION, IF, ON THE OTHER HAND, IT IS 99% OF THE TIME IS PURE FICTION, THEN YOU CAN STUDY THE SCRIPT OF THE TIME IS PURE FICTION, THEN YOU CAN STUDY THE SCRIPT AND WORK OUT, NOT ONLY YOUR OWN THEN YOU CAN STUDY THE SCRIPT AND WORK OUT, NOT ONLY YOUR OWN PART, BUT WHAT OTHER PEOPLE SAY AND WORK OUT, NOT ONLY YOUR OWN PART, BUT WHAT OTHER PEOPLE SAY ABOUT THE CHARACTER. PART, BUT WHAT OTHER PEOPLE SAY ABOUT THE CHARACTER. THAT IS AN ENORMOUS ASSISTANCE. ABOUT THE CHARACTER. THAT IS AN ENORMOUS ASSISTANCE. THEN IT DEVELOPS DURING THAT IS AN ENORMOUS ASSISTANCE. THEN IT DEVELOPS DURING REHEARSAL. THEN IT DEVELOPS DURING REHEARSAL. >> WHAT WAS YOUR MOST DIFFICULT REHEARSAL. >> WHAT WAS YOUR MOST DIFFICULT ROLE? >> WHAT WAS YOUR MOST DIFFICULT ROLE? >> I THINK THE MOST DIFFICULT ROLE? >> I THINK THE MOST DIFFICULT PART I HAVE EVER PLAYED WAS >> I THINK THE MOST DIFFICULT PART I HAVE EVER PLAYED WAS STRANGE GERMAN DOCTOR, PART I HAVE EVER PLAYED WAS STRANGE GERMAN DOCTOR, DR. GUERKLER, INTERPLAYED BY JB STRANGE GERMAN DOCTOR, DR. GUERKLER, INTERPLAYED BY JB PRIESTLY. DR. GUERKLER, INTERPLAYED BY JB PRIESTLY. >>I HEARD -- THAT NAME IS PRIESTLY. >>I HEARD -- THAT NAME IS FAMILIAR TO ME. >>I HEARD -- THAT NAME IS FAMILIAR TO ME. I CAN'T SAY I REMEMBER ANYTHING FAMILIAR TO ME. I CAN'T SAY I REMEMBER ANYTHING ABOUT HIM. I CAN'T SAY I REMEMBER ANYTHING ABOUT HIM. >>HE WROTE A NUMBER OF PLAYS ABOUT HIM. >>HE WROTE A NUMBER OF PLAYS WHICH COME OUT OF THE GENERIC >>HE WROTE A NUMBER OF PLAYS WHICH COME OUT OF THE GENERIC HEAD ARE OF TIME PLAYS IN WHICH WHICH COME OUT OF THE GENERIC HEAD ARE OF TIME PLAYS IN WHICH SOMEBODY TRAVELS TO THE FUTURE HEAD ARE OF TIME PLAYS IN WHICH SOMEBODY TRAVELS TO THE FUTURE OR TO THE PAST, AND IN THIS SOMEBODY TRAVELS TO THE FUTURE OR TO THE PAST, AND IN THIS PARTICULAR PLAY, THIS CHARACTER OR TO THE PAST, AND IN THIS PARTICULAR PLAY, THIS CHARACTER TURNS UP, MEETS SOME OTHER PARTICULAR PLAY, THIS CHARACTER TURNS UP, MEETS SOME OTHER CHARACTERISTICS, AND HE SAYS TURNS UP, MEETS SOME OTHER CHARACTERISTICS, AND HE SAYS THAT IN SOME KIND OF A TRANCE CHARACTERISTICS, AND HE SAYS THAT IN SOME KIND OF A TRANCE STATE, HE CAN SEE THEIR FUTURE. THAT IN SOME KIND OF A TRANCE STATE, HE CAN SEE THEIR FUTURE. HE SAID "I BEG YOU, GERMAN STATE, HE CAN SEE THEIR FUTURE. HE SAID "I BEG YOU, GERMAN ACCENT, I BEG YOU DON'T TAKE HE SAID "I BEG YOU, GERMAN ACCENT, I BEG YOU DON'T TAKE THIS COURSE OF ACTION, BECAUSE ACCENT, I BEG YOU DON'T TAKE THIS COURSE OF ACTION, BECAUSE IT WILL BE TERRIBLE." THIS COURSE OF ACTION, BECAUSE IT WILL BE TERRIBLE." OF COURSE, THEY LAUGH AT HIM, IT WILL BE TERRIBLE." OF COURSE, THEY LAUGH AT HIM, AND HE HAS TO TRY TO EXPLAIN OF COURSE, THEY LAUGH AT HIM, AND HE HAS TO TRY TO EXPLAIN THIS SYSTEM, HE TAKES CERTAIN AND HE HAS TO TRY TO EXPLAIN THIS SYSTEM, HE TAKES CERTAIN DRUGS AND HOW HE WORKED IT ALL THIS SYSTEM, HE TAKES CERTAIN DRUGS AND HOW HE WORKED IT ALL OUT. DRUGS AND HOW HE WORKED IT ALL OUT. AND THIS TO SOME EXTENT IS OUT. AND THIS TO SOME EXTENT IS UNREAL BECAUSE THERE IS NO SUCH AND THIS TO SOME EXTENT IS UNREAL BECAUSE THERE IS NO SUCH THING. UNREAL BECAUSE THERE IS NO SUCH THING. YOU CAN'T SEE WHAT GOING TO THING. YOU CAN'T SEE WHAT GOING TO HAPPEN IN THE FUTURE. YOU CAN'T SEE WHAT GOING TO HAPPEN IN THE FUTURE. AND I FOUND THIS EXTREMELY HAPPEN IN THE FUTURE. AND I FOUND THIS EXTREMELY DIFFICULT. AND I FOUND THIS EXTREMELY DIFFICULT. BUT WHAT IS QUITE INTERESTING, DIFFICULT. BUT WHAT IS QUITE INTERESTING, OR I FIND IT INTERESTING, I HOPE BUT WHAT IS QUITE INTERESTING, OR I FIND IT INTERESTING, I HOPE YOU WILL, IS THAT WHEN SOMETHING OR I FIND IT INTERESTING, I HOPE YOU WILL, IS THAT WHEN SOMETHING IS VERY, VERY DIFFICULT, I FIND YOU WILL, IS THAT WHEN SOMETHING IS VERY, VERY DIFFICULT, I FIND I OFTEN FINISH UP GIVING A IS VERY, VERY DIFFICULT, I FIND I OFTEN FINISH UP GIVING A BETTER PERFORMANCE THAN I OFTEN FINISH UP GIVING A BETTER PERFORMANCE THAN SOMETHING I THOUGHT WAS VERY, BETTER PERFORMANCE THAN SOMETHING I THOUGHT WAS VERY, VERY EASY. SOMETHING I THOUGHT WAS VERY, VERY EASY. PROBABLY THE DIFFICULT PART YOU VERY EASY. PROBABLY THE DIFFICULT PART YOU CONCENTRATE THAT MUCH MORE. PROBABLY THE DIFFICULT PART YOU CONCENTRATE THAT MUCH MORE. YOU CAN'T HELP IT. CONCENTRATE THAT MUCH MORE. YOU CAN'T HELP IT. >>THE NUMBER OF HOURS THAT IT YOU CAN'T HELP IT. >>THE NUMBER OF HOURS THAT IT REQUIRED FOR YOU TO GET INTO >>THE NUMBER OF HOURS THAT IT REQUIRED FOR YOU TO GET INTO THIS ACTOR, THIS GERMAN THAT YOU REQUIRED FOR YOU TO GET INTO THIS ACTOR, THIS GERMAN THAT YOU ARE SPEAKING OF. THIS ACTOR, THIS GERMAN THAT YOU ARE SPEAKING OF. >>WELL, LARGELY THE REHEARSAL, I ARE SPEAKING OF. >>WELL, LARGELY THE REHEARSAL, I THINK WE HAVE THREE WEEKS >>WELL, LARGELY THE REHEARSAL, I THINK WE HAVE THREE WEEKS REHEARSAL. THINK WE HAVE THREE WEEKS REHEARSAL. YOU ARE REHEARSING EIGHT HOURS A REHEARSAL. YOU ARE REHEARSING EIGHT HOURS A DAY, EVERY DAY OF THE WEEK, BUT YOU ARE REHEARSING EIGHT HOURS A DAY, EVERY DAY OF THE WEEK, BUT SUNDAY. DAY, EVERY DAY OF THE WEEK, BUT SUNDAY. AND GRADUALLY WITH THE HELP OF SUNDAY. AND GRADUALLY WITH THE HELP OF THE DIRECTOR, WE HAD A FIRST AND GRADUALLY WITH THE HELP OF THE DIRECTOR, WE HAD A FIRST CLASS DIRECTOR, I GRADUALLY THE DIRECTOR, WE HAD A FIRST CLASS DIRECTOR, I GRADUALLY BEGAN TO DEVELOP THE CHARACTER. CLASS DIRECTOR, I GRADUALLY BEGAN TO DEVELOP THE CHARACTER. IT WAS A VERY WELL WRITTEN PLAY. BEGAN TO DEVELOP THE CHARACTER. IT WAS A VERY WELL WRITTEN PLAY. I MEAN HE OBVIOUSLY HAD, HAD TO IT WAS A VERY WELL WRITTEN PLAY. I MEAN HE OBVIOUSLY HAD, HAD TO FLEE NAZI GERMANY. I MEAN HE OBVIOUSLY HAD, HAD TO FLEE NAZI GERMANY. ONE PRESUMES HE IS JEWISH. FLEE NAZI GERMANY. ONE PRESUMES HE IS JEWISH. THAT ADDED ANOTHER ONE PRESUMES HE IS JEWISH. THAT ADDED ANOTHER CHARACTERISTIC TO THE PART. THAT ADDED ANOTHER CHARACTERISTIC TO THE PART. AND DURING THE COURSE OF CHARACTERISTIC TO THE PART. AND DURING THE COURSE OF REHEARSAL, I GRADUALLY BECAME AND DURING THE COURSE OF REHEARSAL, I GRADUALLY BECAME VERY FOND OF THE OLD GUERTLER. REHEARSAL, I GRADUALLY BECAME VERY FOND OF THE OLD GUERTLER. WE NEVER DISCOVER QUITE WHAT VERY FOND OF THE OLD GUERTLER. WE NEVER DISCOVER QUITE WHAT KIND OF A DOCTOR HE IS, A DR. OF WE NEVER DISCOVER QUITE WHAT KIND OF A DOCTOR HE IS, A DR. OF PHILOSOPHY. KIND OF A DOCTOR HE IS, A DR. OF PHILOSOPHY. PROBABLY NOT A DR. OF MEDICINE. PHILOSOPHY. PROBABLY NOT A DR. OF MEDICINE. AND THEN, OF COURSE, THERE IS PROBABLY NOT A DR. OF MEDICINE. AND THEN, OF COURSE, THERE IS THE QUESTION OF THE ACCENT. AND THEN, OF COURSE, THERE IS THE QUESTION OF THE ACCENT. (SPEAKING STRONG GERMAN ACCENT) THE QUESTION OF THE ACCENT. (SPEAKING STRONG GERMAN ACCENT) NOBODY CAN UNDERSTAND WHAT YOU (SPEAKING STRONG GERMAN ACCENT) NOBODY CAN UNDERSTAND WHAT YOU ARE SAYING! THAT HAD TO BE NOBODY CAN UNDERSTAND WHAT YOU ARE SAYING! THAT HAD TO BE TURNED DOWN. ARE SAYING! THAT HAD TO BE TURNED DOWN. AND HIS RELATIONSHIP WITH THE TURNED DOWN. AND HIS RELATIONSHIP WITH THE OTHER CHARACTERISTICS, THE FACT AND HIS RELATIONSHIP WITH THE OTHER CHARACTERISTICS, THE FACT THAT HE NOTED EVERYTHING DOWN IN OTHER CHARACTERISTICS, THE FACT THAT HE NOTED EVERYTHING DOWN IN A NOTEBOOK OVER TIME T I MEAN THAT HE NOTED EVERYTHING DOWN IN A NOTEBOOK OVER TIME T I MEAN FASCINATING, BUT DIFFICULT PART. A NOTEBOOK OVER TIME T I MEAN FASCINATING, BUT DIFFICULT PART. >> THE EASIEST ROLE? FASCINATING, BUT DIFFICULT PART. >> THE EASIEST ROLE? >> OH, DEAR, MAYBE THEY ARE ALL >> THE EASIEST ROLE? >> OH, DEAR, MAYBE THEY ARE ALL DIFFICULT. >> OH, DEAR, MAYBE THEY ARE ALL DIFFICULT. EASIEST ROLE, WELL, IT WAS ONE DIFFICULT. EASIEST ROLE, WELL, IT WAS ONE SMALL PART I WAS PLAYING IN A EASIEST ROLE, WELL, IT WAS ONE SMALL PART I WAS PLAYING IN A TELEVISION PLAY, AND IT WASN'T SMALL PART I WAS PLAYING IN A TELEVISION PLAY, AND IT WASN'T VERY WELL WRITTEN WHICH DOESN'T TELEVISION PLAY, AND IT WASN'T VERY WELL WRITTEN WHICH DOESN'T HELP. VERY WELL WRITTEN WHICH DOESN'T HELP. BUT I SAID TO ONE OF THE OTHER HELP. BUT I SAID TO ONE OF THE OTHER ACTORS "YOU KNOW, I CAN'T GET A BUT I SAID TO ONE OF THE OTHER ACTORS "YOU KNOW, I CAN'T GET A HOLD ON THIS CHARACTER BECAUSE I ACTORS "YOU KNOW, I CAN'T GET A HOLD ON THIS CHARACTER BECAUSE I DON'T KNOW HOW HE WALKS OR HOW HOLD ON THIS CHARACTER BECAUSE I DON'T KNOW HOW HE WALKS OR HOW HE TALKS OR LOOKS." DON'T KNOW HOW HE WALKS OR HOW HE TALKS OR LOOKS." THE OTHER ACTOR SAID "HE WALKS HE TALKS OR LOOKS." THE OTHER ACTOR SAID "HE WALKS AND TALKS LIKE YOU, NICK CLASS." THE OTHER ACTOR SAID "HE WALKS AND TALKS LIKE YOU, NICK CLASS." I THOUGHT "OH, I DON'T HAVE TO AND TALKS LIKE YOU, NICK CLASS." I THOUGHT "OH, I DON'T HAVE TO PUT ON ACTIONS OR GESTURE," I THOUGHT "OH, I DON'T HAVE TO PUT ON ACTIONS OR GESTURE," WHICH I SPENT MOST OF MY LIFE PUT ON ACTIONS OR GESTURE," WHICH I SPENT MOST OF MY LIFE DOING. WHICH I SPENT MOST OF MY LIFE DOING. RUMBOLD WAS THE NEAREST THING IN DOING. RUMBOLD WAS THE NEAREST THING IN APPEARANCE AND SOUND TO MYSELF RUMBOLD WAS THE NEAREST THING IN APPEARANCE AND SOUND TO MYSELF AS I HAVE EVER DONE. APPEARANCE AND SOUND TO MYSELF AS I HAVE EVER DONE. >> THE NUMBER OF DIE ELECTS YOU AS I HAVE EVER DONE. >> THE NUMBER OF DIE ELECTS YOU HAD TO USE, AND THE GERMAN YOU >> THE NUMBER OF DIE ELECTS YOU HAD TO USE, AND THE GERMAN YOU TOLD ME ABOUT AND SPANISH, HAD TO USE, AND THE GERMAN YOU TOLD ME ABOUT AND SPANISH, FRENCH? TOLD ME ABOUT AND SPANISH, FRENCH? >> I HAVE PLAYED FRENCH MAN. FRENCH? >> I HAVE PLAYED FRENCH MAN. I PLAYED SPANIARD, AND I PLAYED >> I HAVE PLAYED FRENCH MAN. I PLAYED SPANIARD, AND I PLAYED A GERMAN, AND ALSO, OF COURSE, A I PLAYED SPANIARD, AND I PLAYED A GERMAN, AND ALSO, OF COURSE, A GREAT MANY DIFFERENT BRITISH A GERMAN, AND ALSO, OF COURSE, A GREAT MANY DIFFERENT BRITISH ACTORS, BRITISH ACCENT OF WHICH GREAT MANY DIFFERENT BRITISH ACTORS, BRITISH ACCENT OF WHICH THERE ARE ENORMOUS NUMBER. ACTORS, BRITISH ACCENT OF WHICH THERE ARE ENORMOUS NUMBER. I PLAYED A NUMBER OF COUNTRY THERE ARE ENORMOUS NUMBER. I PLAYED A NUMBER OF COUNTRY PARTS, NORTH COUNTRY PARTS. I PLAYED A NUMBER OF COUNTRY PARTS, NORTH COUNTRY PARTS. I PLAYED A SCOTSMAN ON ONE PARTS, NORTH COUNTRY PARTS. I PLAYED A SCOTSMAN ON ONE OCCASION I REMEMBER. I PLAYED A SCOTSMAN ON ONE OCCASION I REMEMBER. >>NICHOLAS, WHAT MAKES YOUR OCCASION I REMEMBER. >>NICHOLAS, WHAT MAKES YOUR PROFESSIONAL ACTIVITIES >>NICHOLAS, WHAT MAKES YOUR PROFESSIONAL ACTIVITIES PLEASURABLE TO YOU? PROFESSIONAL ACTIVITIES PLEASURABLE TO YOU? >> MY GOODNESS, THAT'S A PLEASURABLE TO YOU? >> MY GOODNESS, THAT'S A QUESTION. >> MY GOODNESS, THAT'S A QUESTION. I COME BACK TO THE THEATER. QUESTION. I COME BACK TO THE THEATER. IT IS THE SENSE OF OCCASION. I COME BACK TO THE THEATER. IT IS THE SENSE OF OCCASION. IT IS A SENSE OF EXCITEMENT. IT IS THE SENSE OF OCCASION. IT IS A SENSE OF EXCITEMENT. IT IS THE SENSE OF IS MAYBE BY IT IS A SENSE OF EXCITEMENT. IT IS THE SENSE OF IS MAYBE BY RAISING ONE EYEBROW, I CAN GET A IT IS THE SENSE OF IS MAYBE BY RAISING ONE EYEBROW, I CAN GET A HUGE LAUGH. RAISING ONE EYEBROW, I CAN GET A HUGE LAUGH. MAYBE BY A SINGLE LOOK, I CAN HUGE LAUGH. MAYBE BY A SINGLE LOOK, I CAN GET THE AUDIENCE TO GASP WITH MAYBE BY A SINGLE LOOK, I CAN GET THE AUDIENCE TO GASP WITH AMAZEMENT. GET THE AUDIENCE TO GASP WITH AMAZEMENT. I SUPPOSE, REALLY, TO SENSE OF AMAZEMENT. I SUPPOSE, REALLY, TO SENSE OF PART. I SUPPOSE, REALLY, TO SENSE OF PART. IT CERTAINLY ISN'T THE APPLAUSE PART. IT CERTAINLY ISN'T THE APPLAUSE OR CURTAIN, QUITE UNIMPORTANT. IT CERTAINLY ISN'T THE APPLAUSE OR CURTAIN, QUITE UNIMPORTANT. >>REALLY IT IS JUST THE POWER. OR CURTAIN, QUITE UNIMPORTANT. >>REALLY IT IS JUST THE POWER. >>IT IS THE WORK. >>REALLY IT IS JUST THE POWER. >>IT IS THE WORK. >>IT IS THE WORK. >>IT IS THE WORK. >>IT IS THE WORK. >>THE FOCUS, YOU ARE THE FOCUS? >>IT IS THE WORK. >>THE FOCUS, YOU ARE THE FOCUS? >> YET. >>THE FOCUS, YOU ARE THE FOCUS? >> YET. >>1972, TO 1984, 1985, "ARE YOU >> YET. >>1972, TO 1984, 1985, "ARE YOU BEING SERVED". >>1972, TO 1984, 1985, "ARE YOU BEING SERVED". >>YES. BEING SERVED". >>YES. >>MR. RUMBOLD, MANAGER OF MEN'S >>YES. >>MR. RUMBOLD, MANAGER OF MEN'S WEAR AND LADY'S WEAR DEPARTMENT >>MR. RUMBOLD, MANAGER OF MEN'S WEAR AND LADY'S WEAR DEPARTMENT STORE OF GRACE BROTHERS. WEAR AND LADY'S WEAR DEPARTMENT STORE OF GRACE BROTHERS. GRACE BROTHERS. STORE OF GRACE BROTHERS. GRACE BROTHERS. IS THERE A REAL GRACE BROTHERS? GRACE BROTHERS. IS THERE A REAL GRACE BROTHERS? >> THE FUNNY THING IS WE IS THERE A REAL GRACE BROTHERS? >> THE FUNNY THING IS WE DISCOVERED HALFWAY THROUGH THE >> THE FUNNY THING IS WE DISCOVERED HALFWAY THROUGH THE RUN OF THE SERIES, THERE IS A DISCOVERED HALFWAY THROUGH THE RUN OF THE SERIES, THERE IS A GRACE BROTHERS IN AUSTRALIA. RUN OF THE SERIES, THERE IS A GRACE BROTHERS IN AUSTRALIA. THE AUSTRALIANS, WE KNOW WHERE GRACE BROTHERS IN AUSTRALIA. THE AUSTRALIANS, WE KNOW WHERE YOU GOT THAT FROM. THE AUSTRALIANS, WE KNOW WHERE YOU GOT THAT FROM. YOU GOT IT FROM AUSTRALIA! IT IS YOU GOT THAT FROM. YOU GOT IT FROM AUSTRALIA! IT IS AUSTRALIAN! BUT WE NEVER HEARD YOU GOT IT FROM AUSTRALIA! IT IS AUSTRALIAN! BUT WE NEVER HEARD OF IT. AUSTRALIAN! BUT WE NEVER HEARD OF IT. >>AND THEN AFTER THAT, THE OF IT. >>AND THEN AFTER THAT, THE SPIN-OFF, AND THEN GRACE IN >>AND THEN AFTER THAT, THE SPIN-OFF, AND THEN GRACE IN FAVOR, AND YOU HAVE DONE A VOICE SPIN-OFF, AND THEN GRACE IN FAVOR, AND YOU HAVE DONE A VOICE OVER VERY RECENTLY, IS THAT FAVOR, AND YOU HAVE DONE A VOICE OVER VERY RECENTLY, IS THAT RIGHT? OVER VERY RECENTLY, IS THAT RIGHT? >> YES, FOR VOICE, THE CURSE OF RIGHT? >> YES, FOR VOICE, THE CURSE OF THE WARE RABBIT. >> YES, FOR VOICE, THE CURSE OF THE WARE RABBIT. >> THE WERE RABBIT. THE WARE RABBIT. >> THE WERE RABBIT. >>VERSUS THE WERE WONDERFUL. >> THE WERE RABBIT. >>VERSUS THE WERE WONDERFUL. >>YOU DID THE VOICE OVER. >>VERSUS THE WERE WONDERFUL. >>YOU DID THE VOICE OVER. >>I DID THE VOICE OVER >>YOU DID THE VOICE OVER. >>I DID THE VOICE OVER COMPLETELY ON THAT. >>I DID THE VOICE OVER COMPLETELY ON THAT. GREAT FUN TO DO. COMPLETELY ON THAT. GREAT FUN TO DO. >>LOOKING AT YOUR CREDITS, GREAT FUN TO DO. >>LOOKING AT YOUR CREDITS, PLAYS, MUSICALS, MIDSUMMER'S >>LOOKING AT YOUR CREDITS, PLAYS, MUSICALS, MIDSUMMER'S NIGHTS DREAM, MY FAIR LADY, PLAYS, MUSICALS, MIDSUMMER'S NIGHTS DREAM, MY FAIR LADY, ROMEO, AND JULIET, AS YOU LIKE NIGHTS DREAM, MY FAIR LADY, ROMEO, AND JULIET, AS YOU LIKE IT. ROMEO, AND JULIET, AS YOU LIKE IT. WHAT HAVE YOU NOT DONE THAT YOU IT. WHAT HAVE YOU NOT DONE THAT YOU WANT TO DO? WHAT HAVE YOU NOT DONE THAT YOU WANT TO DO? >> I HAVE A LIST OF SHAKESPEARE WANT TO DO? >> I HAVE A LIST OF SHAKESPEARE IN PARTS THAT I'D LIKE TO DO. >> I HAVE A LIST OF SHAKESPEARE IN PARTS THAT I'D LIKE TO DO. >>THE ONE YOU'D MOST LIKE TO DO IN PARTS THAT I'D LIKE TO DO. >>THE ONE YOU'D MOST LIKE TO DO IF THERE IS JUST ONE. >>THE ONE YOU'D MOST LIKE TO DO IF THERE IS JUST ONE. >>PROSPERER AND THE TEMPEST. IF THERE IS JUST ONE. >>PROSPERER AND THE TEMPEST. >>WHY. >>PROSPERER AND THE TEMPEST. >>WHY. >>BECAUSE HE HAS THE MOST >>WHY. >>BECAUSE HE HAS THE MOST MAGNIFY SENT LANGUAGE. >>BECAUSE HE HAS THE MOST MAGNIFY SENT LANGUAGE. MAR LESSENED, WHICH I MAY QUOTE. MAGNIFY SENT LANGUAGE. MAR LESSENED, WHICH I MAY QUOTE. >>THESE ARE TACK ACTORS AS I FOR MAR LESSENED, WHICH I MAY QUOTE. >>THESE ARE TACK ACTORS AS I FOR TOLD YOU, WE ARE ALL SPIRITS AND >>THESE ARE TACK ACTORS AS I FOR TOLD YOU, WE ARE ALL SPIRITS AND ALL VANISHED INTO AIR, INTO THIN TOLD YOU, WE ARE ALL SPIRITS AND ALL VANISHED INTO AIR, INTO THIN AIR. ALL VANISHED INTO AIR, INTO THIN AIR. WE ARE SUCH IS STUFF DREAMS ARE AIR. WE ARE SUCH IS STUFF DREAMS ARE MADE OF, AND OUR LITTLE LIFE IS WE ARE SUCH IS STUFF DREAMS ARE MADE OF, AND OUR LITTLE LIFE IS ROUNDED WITH ASLEEP. MADE OF, AND OUR LITTLE LIFE IS ROUNDED WITH ASLEEP. >> THAT SHAKESPEARE. ROUNDED WITH ASLEEP. >> THAT SHAKESPEARE. >>YOU ARE READY TO DO IT, BUT >> THAT SHAKESPEARE. >>YOU ARE READY TO DO IT, BUT YOU HAVEN'T SECURED THE PART. >>YOU ARE READY TO DO IT, BUT YOU HAVEN'T SECURED THE PART. >>I HAVEN'T GOTTEN THE PART. YOU HAVEN'T SECURED THE PART. >>I HAVEN'T GOTTEN THE PART. MAY HAVE BEEN TOO OLD NOW. >>I HAVEN'T GOTTEN THE PART. MAY HAVE BEEN TOO OLD NOW. >>I'D LIKE TO TALK ABOUT "ARE MAY HAVE BEEN TOO OLD NOW. >>I'D LIKE TO TALK ABOUT "ARE YOU BEING SERVED" THE FIRST >>I'D LIKE TO TALK ABOUT "ARE YOU BEING SERVED" THE FIRST BROADCAST WAS IN '72. YOU BEING SERVED" THE FIRST BROADCAST WAS IN '72. THE CIRCUMSTANCES, COULD YOU BROADCAST WAS IN '72. THE CIRCUMSTANCES, COULD YOU EXPAND ON THAT? THE CIRCUMSTANCES, COULD YOU EXPAND ON THAT? THERE WAS SOMETHING TO DO WITH EXPAND ON THAT? THERE WAS SOMETHING TO DO WITH THE OLYMPICS, SUMMER OLYMPICS. THERE WAS SOMETHING TO DO WITH THE OLYMPICS, SUMMER OLYMPICS. >>IT WAS A VERY STRANGE THING. THE OLYMPICS, SUMMER OLYMPICS. >>IT WAS A VERY STRANGE THING. I WAS ASKED IF I WOULD DO ONE OF >>IT WAS A VERY STRANGE THING. I WAS ASKED IF I WOULD DO ONE OF THE SERIES OF COMEDY PLAYHOUSE. I WAS ASKED IF I WOULD DO ONE OF THE SERIES OF COMEDY PLAYHOUSE. THERE WAS SORT OF UMBRELLA THE SERIES OF COMEDY PLAYHOUSE. THERE WAS SORT OF UMBRELLA TITLE, YOU KNOW. THERE WAS SORT OF UMBRELLA TITLE, YOU KNOW. THERE WAS TEN OR 12 TOTALLY TITLE, YOU KNOW. THERE WAS TEN OR 12 TOTALLY SEPARATE HALF-HOUR COMEDIES OF THERE WAS TEN OR 12 TOTALLY SEPARATE HALF-HOUR COMEDIES OF WHICH "ARE YOU BEING SERVED" WAS SEPARATE HALF-HOUR COMEDIES OF WHICH "ARE YOU BEING SERVED" WAS ONE. WHICH "ARE YOU BEING SERVED" WAS ONE. DIFFERENT WRITERS. ONE. DIFFERENT WRITERS. DIFFERENT WRITERS, DIFFERENT DIFFERENT WRITERS. DIFFERENT WRITERS, DIFFERENT ACTORS, EVEN A DIFFERENT DIFFERENT WRITERS, DIFFERENT ACTORS, EVEN A DIFFERENT PRODUCER, AND WOULD I PLAY THIS ACTORS, EVEN A DIFFERENT PRODUCER, AND WOULD I PLAY THIS CHARACTER IN THERE. PRODUCER, AND WOULD I PLAY THIS CHARACTER IN THERE. I SAID TO MY AGENT "YOU KNOW, IS CHARACTER IN THERE. I SAID TO MY AGENT "YOU KNOW, IS THE PART ALL RIGHT, MONEY ALL I SAID TO MY AGENT "YOU KNOW, IS THE PART ALL RIGHT, MONEY ALL RIGHT. THE PART ALL RIGHT, MONEY ALL RIGHT. OKAY, FINE, I WILL DO IT" DID RIGHT. OKAY, FINE, I WILL DO IT" DID IT, AND I THOUGHT IT WAS GOOD. OKAY, FINE, I WILL DO IT" DID IT, AND I THOUGHT IT WAS GOOD. WE ALL THOUGHT IT WAS VERY GOOD. IT, AND I THOUGHT IT WAS GOOD. WE ALL THOUGHT IT WAS VERY GOOD. I SAT BACK TO WATCH ON WE ALL THOUGHT IT WAS VERY GOOD. I SAT BACK TO WATCH ON TELEVISION WHEN IT WAS BROADCAST I SAT BACK TO WATCH ON TELEVISION WHEN IT WAS BROADCAST THEY BROADCAST THE WHOLE OF THE TELEVISION WHEN IT WAS BROADCAST THEY BROADCAST THE WHOLE OF THE SERIES OF COMEDY PLAYHOUSE THEY BROADCAST THE WHOLE OF THE SERIES OF COMEDY PLAYHOUSE EXCEPT "ARE YOU BEING SERVED" SERIES OF COMEDY PLAYHOUSE EXCEPT "ARE YOU BEING SERVED" WHICH THEY DID NOT BROADCAST. EXCEPT "ARE YOU BEING SERVED" WHICH THEY DID NOT BROADCAST. THE BBC DIDN'T LIKE IT. WHICH THEY DID NOT BROADCAST. THE BBC DIDN'T LIKE IT. >>DIDN'T LIKE. THE BBC DIDN'T LIKE IT. >>DIDN'T LIKE. >>"ARE YOU BEING SERVED" THEY >>DIDN'T LIKE. >>"ARE YOU BEING SERVED" THEY THOUGHT IT WAS TOO LIGHT WEIGHT, >>"ARE YOU BEING SERVED" THEY THOUGHT IT WAS TOO LIGHT WEIGHT, TOO TRIVIAL, JUST MAKING PEOPLE THOUGHT IT WAS TOO LIGHT WEIGHT, TOO TRIVIAL, JUST MAKING PEOPLE LAUGH, NO SOCIAL COMMENT, NO TOO TRIVIAL, JUST MAKING PEOPLE LAUGH, NO SOCIAL COMMENT, NO NOSTALGIA QUOTIENT, NO POLITICAL LAUGH, NO SOCIAL COMMENT, NO NOSTALGIA QUOTIENT, NO POLITICAL SLANT, NOT SERIOUS ENOUGH FOR NOSTALGIA QUOTIENT, NO POLITICAL SLANT, NOT SERIOUS ENOUGH FOR THE BBC. SLANT, NOT SERIOUS ENOUGH FOR THE BBC. THEN IT WAS THE YEAR OF THE THE BBC. THEN IT WAS THE YEAR OF THE MUNICH OLYMPICS WHERE PEOPLE THEN IT WAS THE YEAR OF THE MUNICH OLYMPICS WHERE PEOPLE OVER A CERTAIN AGE WILL REMEMBER MUNICH OLYMPICS WHERE PEOPLE OVER A CERTAIN AGE WILL REMEMBER THIS GHASTLY BUSINESS OF THE OVER A CERTAIN AGE WILL REMEMBER THIS GHASTLY BUSINESS OF THE ISRAELI ATHLETES BEING A S THIS GHASTLY BUSINESS OF THE ISRAELI ATHLETES BEING A S NATED. ISRAELI ATHLETES BEING A S NATED. AND THE OLYMPIC GAMES, OF NATED. AND THE OLYMPIC GAMES, OF COURSE, FOR THE REST OF THAT DAY AND THE OLYMPIC GAMES, OF COURSE, FOR THE REST OF THAT DAY WERE CANCELLED. COURSE, FOR THE REST OF THAT DAY WERE CANCELLED. BBC WAS FACED WITH BANK SCREEN, WERE CANCELLED. BBC WAS FACED WITH BANK SCREEN, WHAT WERE THEY TO DO? BBC WAS FACED WITH BANK SCREEN, WHAT WERE THEY TO DO? THEY HAD TO PUT OUT SOMETHING. WHAT WERE THEY TO DO? THEY HAD TO PUT OUT SOMETHING. THEY FOUND A MOVIE VYING ON THE THEY HAD TO PUT OUT SOMETHING. THEY FOUND A MOVIE VYING ON THE SHELF. THEY FOUND A MOVIE VYING ON THE SHELF. BUT THAT WASN'T LONG ENOUGH. SHELF. BUT THAT WASN'T LONG ENOUGH. THEY SAID WE BETTER PUT ON THAT BUT THAT WASN'T LONG ENOUGH. THEY SAID WE BETTER PUT ON THAT COMEDY PLAYHOUSE, IT WAS NEVER THEY SAID WE BETTER PUT ON THAT COMEDY PLAYHOUSE, IT WAS NEVER REALLY GOOD. COMEDY PLAYHOUSE, IT WAS NEVER REALLY GOOD. NO ONE CAN BLAME US BECAUSE IT REALLY GOOD. NO ONE CAN BLAME US BECAUSE IT WAS AN EMERGENCY. NO ONE CAN BLAME US BECAUSE IT WAS AN EMERGENCY. THE PUBLIC REACTION WAS SO WAS AN EMERGENCY. THE PUBLIC REACTION WAS SO ENORMOUS, THAT WE MADE FIVE MORE THE PUBLIC REACTION WAS SO ENORMOUS, THAT WE MADE FIVE MORE PERFORMANCES. ENORMOUS, THAT WE MADE FIVE MORE PERFORMANCES. IF IT WEREN'T FOR THE EVIL PERFORMANCES. IF IT WEREN'T FOR THE EVIL TERRORISTS, I WOULDN'T BE IF IT WEREN'T FOR THE EVIL TERRORISTS, I WOULDN'T BE SITTING. TERRORISTS, I WOULDN'T BE SITTING. >>TEN SERIES, 39 EPISODES. SITTING. >>TEN SERIES, 39 EPISODES. TEN YEARS. >>TEN SERIES, 39 EPISODES. TEN YEARS. >>12 YEARS ACTUALLY. TEN YEARS. >>12 YEARS ACTUALLY. >>CANADA, U.S., ALL OVER. >>12 YEARS ACTUALLY. >>CANADA, U.S., ALL OVER. >>~L ALL OVER, A LOT OF >>CANADA, U.S., ALL OVER. >>~L ALL OVER, A LOT OF COUNTRIES WHERE ENGLISH WAS NOT >>~L ALL OVER, A LOT OF COUNTRIES WHERE ENGLISH WAS NOT THE FIRST LANGUAGE, ISRAEL, COUNTRIES WHERE ENGLISH WAS NOT THE FIRST LANGUAGE, ISRAEL, HOLLAND, SWOONED. THE FIRST LANGUAGE, ISRAEL, HOLLAND, SWOONED. INDIA EVEN. HOLLAND, SWOONED. INDIA EVEN. >>, AS I SEE IT, IT IS A PARITY INDIA EVEN. >>, AS I SEE IT, IT IS A PARITY OF THE BRITISH CLASS SYSTEM. >>, AS I SEE IT, IT IS A PARITY OF THE BRITISH CLASS SYSTEM. >>OH, REALLY! (LAUGHING) I NEVER OF THE BRITISH CLASS SYSTEM. >>OH, REALLY! (LAUGHING) I NEVER THOUGHT OF THAT. >>OH, REALLY! (LAUGHING) I NEVER THOUGHT OF THAT. >>JUST HAPPENED TO COME TO ME. THOUGHT OF THAT. >>JUST HAPPENED TO COME TO ME. THERE WAS A LITTLE MISTAKEN >>JUST HAPPENED TO COME TO ME. THERE WAS A LITTLE MISTAKEN IDENTITY, AND DOUBLE ON THERE WAS A LITTLE MISTAKEN IDENTITY, AND DOUBLE ON CONTRARIES. IDENTITY, AND DOUBLE ON CONTRARIES. IS THAT FAIR? CONTRARIES. IS THAT FAIR? >> CERTAINLY DO, IT IS THE IS THAT FAIR? >> CERTAINLY DO, IT IS THE FUNDAMENTAL BASIS OF THE WHOLE >> CERTAINLY DO, IT IS THE FUNDAMENTAL BASIS OF THE WHOLE THING, DONE VERY INNOCENTLY. FUNDAMENTAL BASIS OF THE WHOLE THING, DONE VERY INNOCENTLY. PEOPLE WOULD COME UP IN THE THING, DONE VERY INNOCENTLY. PEOPLE WOULD COME UP IN THE STREETS AND SAY "THE WHOLE PEOPLE WOULD COME UP IN THE STREETS AND SAY "THE WHOLE FAMILY CAN WATCH "ARE YOU BEING STREETS AND SAY "THE WHOLE FAMILY CAN WATCH "ARE YOU BEING SERVED" BECAUSE THERE IS NEVER FAMILY CAN WATCH "ARE YOU BEING SERVED" BECAUSE THERE IS NEVER ANYTHING RUDE IN IT" THEY DIDN'T SERVED" BECAUSE THERE IS NEVER ANYTHING RUDE IN IT" THEY DIDN'T KNOW WHERE TO LOOK BECAUSE THERE ANYTHING RUDE IN IT" THEY DIDN'T KNOW WHERE TO LOOK BECAUSE THERE WAS NEVER ANYTHING ELSE. KNOW WHERE TO LOOK BECAUSE THERE WAS NEVER ANYTHING ELSE. >>MR. RUMBOLD, LET'S TALK ABOUT WAS NEVER ANYTHING ELSE. >>MR. RUMBOLD, LET'S TALK ABOUT MR. RUMBOLD, AUTOCRATIC, EASILY >>MR. RUMBOLD, LET'S TALK ABOUT MR. RUMBOLD, AUTOCRATIC, EASILY CONFUSED MEN'S WEAR MANAGER. MR. RUMBOLD, AUTOCRATIC, EASILY CONFUSED MEN'S WEAR MANAGER. ANY COMMENT ABOUT GETTING INTO CONFUSED MEN'S WEAR MANAGER. ANY COMMENT ABOUT GETTING INTO THAT -- YOU SAID EARLIER YOU ANY COMMENT ABOUT GETTING INTO THAT -- YOU SAID EARLIER YOU FELT THAT HE PERHAPS WAS AS MUCH THAT -- YOU SAID EARLIER YOU FELT THAT HE PERHAPS WAS AS MUCH LIKE YOU AS ANYONE YOU HAVE EVER FELT THAT HE PERHAPS WAS AS MUCH LIKE YOU AS ANYONE YOU HAVE EVER PLAYED. LIKE YOU AS ANYONE YOU HAVE EVER PLAYED. HE WAS AS MUCH LIKE ME IN PLAYED. HE WAS AS MUCH LIKE ME IN APPEARANCE AND SOUND. HE WAS AS MUCH LIKE ME IN APPEARANCE AND SOUND. I SPENT MOST OF MY CAREER APPEARANCE AND SOUND. I SPENT MOST OF MY CAREER TALKING BROAD COUNTRY OR NORTH I SPENT MOST OF MY CAREER TALKING BROAD COUNTRY OR NORTH COUNTRY OR SCOTTISH, OR GERMAN TALKING BROAD COUNTRY OR NORTH COUNTRY OR SCOTTISH, OR GERMAN AND TOTALLY DIFFERENT MAKE UP, COUNTRY OR SCOTTISH, OR GERMAN AND TOTALLY DIFFERENT MAKE UP, BEARDSTOWN, MUSTACHES, AND WIGS AND TOTALLY DIFFERENT MAKE UP, BEARDSTOWN, MUSTACHES, AND WIGS AND SO ON. BEARDSTOWN, MUSTACHES, AND WIGS AND SO ON. WHEN I GOT THE SCRIPT, THE AND SO ON. WHEN I GOT THE SCRIPT, THE ORIGINAL SCRIPT, MY FIRST WHEN I GOT THE SCRIPT, THE ORIGINAL SCRIPT, MY FIRST THOUGHT WAS THE MAN IS AN IDIOT. ORIGINAL SCRIPT, MY FIRST THOUGHT WAS THE MAN IS AN IDIOT. HE JUST IS A COMPLETE FOOL. THOUGHT WAS THE MAN IS AN IDIOT. HE JUST IS A COMPLETE FOOL. AND, OF COURSE, NORMALLY PLAYING HE JUST IS A COMPLETE FOOL. AND, OF COURSE, NORMALLY PLAYING SOMEONE LIKE THAT, YOU WOULD AND, OF COURSE, NORMALLY PLAYING SOMEONE LIKE THAT, YOU WOULD TALK VERY SLOWLY AND NOT SOMEONE LIKE THAT, YOU WOULD TALK VERY SLOWLY AND NOT UNDERSTAND WHAT IS HAPPENING. TALK VERY SLOWLY AND NOT UNDERSTAND WHAT IS HAPPENING. BUT YOU CAN'T DO THAT IN UNDERSTAND WHAT IS HAPPENING. BUT YOU CAN'T DO THAT IN HALF-HOUR SHOW. BUT YOU CAN'T DO THAT IN HALF-HOUR SHOW. THAT WOULD BE VERY BORING. HALF-HOUR SHOW. THAT WOULD BE VERY BORING. SO I DECIDED HE WOULD TALK THAT WOULD BE VERY BORING. SO I DECIDED HE WOULD TALK EXTREMELY FAST, VERY SO I DECIDED HE WOULD TALK EXTREMELY FAST, VERY ENTHUSIASTICALLY, BUT STILL GET EXTREMELY FAST, VERY ENTHUSIASTICALLY, BUT STILL GET EVERYTHING WRONG. I PUT ENTHUSIASTICALLY, BUT STILL GET EVERYTHING WRONG. I PUT MR. DAVID CROFT, ONE OF THE EVERYTHING WRONG. I PUT MR. DAVID CROFT, ONE OF THE WRITERS AND ALSO DIRECTOR AND MR. DAVID CROFT, ONE OF THE WRITERS AND ALSO DIRECTOR AND PRODUCER, AND HE AGREED THIS WAS WRITERS AND ALSO DIRECTOR AND PRODUCER, AND HE AGREED THIS WAS THE BEST WAY TO DO IT. PRODUCER, AND HE AGREED THIS WAS THE BEST WAY TO DO IT. AND THEN I SAID "WHAT ABOUT HIS THE BEST WAY TO DO IT. AND THEN I SAID "WHAT ABOUT HIS APPEARANCE?" AND THEN I SAID "WHAT ABOUT HIS APPEARANCE?" AND HE SAID "WELL, I DON'T THINK APPEARANCE?" AND HE SAID "WELL, I DON'T THINK WE NEED TO CHANGE YOUR AND HE SAID "WELL, I DON'T THINK WE NEED TO CHANGE YOUR APPEARANCE AT ALL." WE NEED TO CHANGE YOUR APPEARANCE AT ALL." I SAID "WHAT IF I WERE TO WEAR APPEARANCE AT ALL." I SAID "WHAT IF I WERE TO WEAR MY GLASSES?" I SAID "WHAT IF I WERE TO WEAR MY GLASSES?" I NEVER WORE MY GLASSES ON MY GLASSES?" I NEVER WORE MY GLASSES ON TELEVISION BEFORE BECAUSE IT IS I NEVER WORE MY GLASSES ON TELEVISION BEFORE BECAUSE IT IS SORT OF OFFICE TYPE. TELEVISION BEFORE BECAUSE IT IS SORT OF OFFICE TYPE. >>OH, YEAH, WHERE YOUR GLASSES, SORT OF OFFICE TYPE. >>OH, YEAH, WHERE YOUR GLASSES, THAT'S A GOOD IDEA." >>OH, YEAH, WHERE YOUR GLASSES, THAT'S A GOOD IDEA." THEN THERE WAS A QUESTION ABOUT THAT'S A GOOD IDEA." THEN THERE WAS A QUESTION ABOUT HIS VOICE. THEN THERE WAS A QUESTION ABOUT HIS VOICE. "HE IS BEING PROMOTED OVER HIS VOICE. "HE IS BEING PROMOTED OVER CAPTAIN PEACOCK'S HEAD FROM THE "HE IS BEING PROMOTED OVER CAPTAIN PEACOCK'S HEAD FROM THE HARDWARE DEPARTMENT." CAPTAIN PEACOCK'S HEAD FROM THE HARDWARE DEPARTMENT." MAYBE HE HAS UNPLEASANT WHINING HARDWARE DEPARTMENT." MAYBE HE HAS UNPLEASANT WHINING VOICE LIKE THAT (WHINING VOICE) MAYBE HE HAS UNPLEASANT WHINING VOICE LIKE THAT (WHINING VOICE) DAVID CROFT SAID "I DON'T THINK VOICE LIKE THAT (WHINING VOICE) DAVID CROFT SAID "I DON'T THINK WE NEED TO GO THERE AT ALL. DAVID CROFT SAID "I DON'T THINK WE NEED TO GO THERE AT ALL. I THINK YOU CAN USE YOUR OWN WE NEED TO GO THERE AT ALL. I THINK YOU CAN USE YOUR OWN STANDARD ENGLISH." I THINK YOU CAN USE YOUR OWN STANDARD ENGLISH." AND THAT'S HOW IT HAPPENED. STANDARD ENGLISH." AND THAT'S HOW IT HAPPENED. JERRY LLOYD, ONE WRITER. AND THAT'S HOW IT HAPPENED. JERRY LLOYD, ONE WRITER. >>JEREMY LLOYD, YES. JERRY LLOYD, ONE WRITER. >>JEREMY LLOYD, YES. >>JEREMY LLOYD, YES. >>JEREMY LLOYD, YES. >>JEREMY LLOYD, YES. VERSUS I THINK OF OTHER SHOWS IN >>JEREMY LLOYD, YES. VERSUS I THINK OF OTHER SHOWS IN THE U.S. THINKING OF COMEDIES, VERSUS I THINK OF OTHER SHOWS IN THE U.S. THINKING OF COMEDIES, THE FRIENDS, FOR EXAMPLE, FIVE THE U.S. THINKING OF COMEDIES, THE FRIENDS, FOR EXAMPLE, FIVE WRITERS, 30 WRITERS. THE FRIENDS, FOR EXAMPLE, FIVE WRITERS, 30 WRITERS. >>SO I HAVE HEARD ARE, YES. WRITERS, 30 WRITERS. >>SO I HAVE HEARD ARE, YES. >>COMPARE, CONTRAST YOUR SERIES >>SO I HAVE HEARD ARE, YES. >>COMPARE, CONTRAST YOUR SERIES WITH, LET'S SAY FRIENDS. >>COMPARE, CONTRAST YOUR SERIES WITH, LET'S SAY FRIENDS. >> I HAVE WATCHED FRIENDS, OF WITH, LET'S SAY FRIENDS. >> I HAVE WATCHED FRIENDS, OF COURSE. >> I HAVE WATCHED FRIENDS, OF COURSE. AND I THINK IT IS VERY CLEVER. COURSE. AND I THINK IT IS VERY CLEVER. I THINK IT IS VERY AMUSING. AND I THINK IT IS VERY CLEVER. I THINK IT IS VERY AMUSING. I THINK IT IS BASED ON WHAT WE I THINK IT IS VERY AMUSING. I THINK IT IS BASED ON WHAT WE CALL ONE LINERS. I THINK IT IS BASED ON WHAT WE CALL ONE LINERS. DO YOU USE THAT PHRASE HERE? CALL ONE LINERS. DO YOU USE THAT PHRASE HERE? >> YES. DO YOU USE THAT PHRASE HERE? >> YES. >>SO ALMOST EVERY LINE IS A >> YES. >>SO ALMOST EVERY LINE IS A JOKE, IS A GAG. >>SO ALMOST EVERY LINE IS A JOKE, IS A GAG. YOU CAN REPEAT THESE. JOKE, IS A GAG. YOU CAN REPEAT THESE. YOU CAN SAY, OH, LAST NIGHT ON YOU CAN REPEAT THESE. YOU CAN SAY, OH, LAST NIGHT ON "FRIENDS" SOMEBODY SAID SO AND YOU CAN SAY, OH, LAST NIGHT ON "FRIENDS" SOMEBODY SAID SO AND SO, YOU WOULDN'T NEED TO "FRIENDS" SOMEBODY SAID SO AND SO, YOU WOULDN'T NEED TO DESCRIBE THE SITUATION OR WHICH SO, YOU WOULDN'T NEED TO DESCRIBE THE SITUATION OR WHICH CHARACTER SAID IT BECAUSE IT IS DESCRIBE THE SITUATION OR WHICH CHARACTER SAID IT BECAUSE IT IS BASICALLY A JOKE, A SERIES OF CHARACTER SAID IT BECAUSE IT IS BASICALLY A JOKE, A SERIES OF JOKES. BASICALLY A JOKE, A SERIES OF JOKES. "ARE YOU BEING SERVED" YOU CAN'T JOKES. "ARE YOU BEING SERVED" YOU CAN'T DO THAT. "ARE YOU BEING SERVED" YOU CAN'T DO THAT. THEY WERE VERY FEW ACTUAL JOKES DO THAT. THEY WERE VERY FEW ACTUAL JOKES YOU COULD TAKE OUT AND REPEAT IN THEY WERE VERY FEW ACTUAL JOKES YOU COULD TAKE OUT AND REPEAT IN THE BAR ONE NIGHT. YOU COULD TAKE OUT AND REPEAT IN THE BAR ONE NIGHT. IT IS BASED ENTIRELY ON THE THE BAR ONE NIGHT. IT IS BASED ENTIRELY ON THE CHARACTERISTICS INVOLVED AND ON IT IS BASED ENTIRELY ON THE CHARACTERISTICS INVOLVED AND ON THE SITUATION. CHARACTERISTICS INVOLVED AND ON THE SITUATION. IT IS A SITUATION COMEDY. THE SITUATION. IT IS A SITUATION COMEDY. AND THAT I THINK IS A BIG IT IS A SITUATION COMEDY. AND THAT I THINK IS A BIG DIFFERENCE IN APPROACH. AND THAT I THINK IS A BIG DIFFERENCE IN APPROACH. >> FIVE CAMERAS, SIX CAMERAS. DIFFERENCE IN APPROACH. >> FIVE CAMERAS, SIX CAMERAS. >>ALWAYS FIVE. >> FIVE CAMERAS, SIX CAMERAS. >>ALWAYS FIVE. OCCASIONALLY SIX. >>ALWAYS FIVE. OCCASIONALLY SIX. >>GO THROUGH THE MECHANICS OF A OCCASIONALLY SIX. >>GO THROUGH THE MECHANICS OF A SHOOT. >>GO THROUGH THE MECHANICS OF A SHOOT. >>WELL, WE FIRST OF ALL WOULD SHOOT. >>WELL, WE FIRST OF ALL WOULD REHEARSE, MONDAY, TUESDAY, >>WELL, WE FIRST OF ALL WOULD REHEARSE, MONDAY, TUESDAY, WEDNESDAY, THURSDAY, FRIDAY, IN REHEARSE, MONDAY, TUESDAY, WEDNESDAY, THURSDAY, FRIDAY, IN THE REHEARSAL ROOMS, REHEARSAL WEDNESDAY, THURSDAY, FRIDAY, IN THE REHEARSAL ROOMS, REHEARSAL STUDIOS, WITHOUT THE CAMERAS, THE REHEARSAL ROOMS, REHEARSAL STUDIOS, WITHOUT THE CAMERAS, WITHOUT THE PROPS, WITHOUT THE STUDIOS, WITHOUT THE CAMERAS, WITHOUT THE PROPS, WITHOUT THE SETS, WITHOUT LIGHTING OR SOUND WITHOUT THE PROPS, WITHOUT THE SETS, WITHOUT LIGHTING OR SOUND EFFECT OR ANYTHING. SETS, WITHOUT LIGHTING OR SOUND EFFECT OR ANYTHING. WE THEN SPENT A WHOLE DAY IN THE EFFECT OR ANYTHING. WE THEN SPENT A WHOLE DAY IN THE STUDIO, PROBABLY FRIDAY, MAYBE WE THEN SPENT A WHOLE DAY IN THE STUDIO, PROBABLY FRIDAY, MAYBE SATURDAY. STUDIO, PROBABLY FRIDAY, MAYBE SATURDAY. A SUNDAY IF SOME WERE APPEARING SATURDAY. A SUNDAY IF SOME WERE APPEARING IN THE WEST END, WE COULDN'T DO A SUNDAY IF SOME WERE APPEARING IN THE WEST END, WE COULDN'T DO THAT. IN THE WEST END, WE COULDN'T DO THAT. >>WEST END. THAT. >>WEST END. >>WENT END OF LONDON. >>WEST END. >>WENT END OF LONDON. EQUIVALENT OF BROADWAY, BUT IN >>WENT END OF LONDON. EQUIVALENT OF BROADWAY, BUT IN LONDON. EQUIVALENT OF BROADWAY, BUT IN LONDON. YOU REHEARSE THE WHOLE DAY, FOR LONDON. YOU REHEARSE THE WHOLE DAY, FOR THE FIRST TIME, ALL THE YOU REHEARSE THE WHOLE DAY, FOR THE FIRST TIME, ALL THE COSTUMES, ALL THE PROPS, ALL THE THE FIRST TIME, ALL THE COSTUMES, ALL THE PROPS, ALL THE CAMERAS, THE SOUND ENGINEERS AND COSTUMES, ALL THE PROPS, ALL THE CAMERAS, THE SOUND ENGINEERS AND EVERYTHING. CAMERAS, THE SOUND ENGINEERS AND EVERYTHING. GO AWAY AND HAVE SOMETHING TO EVERYTHING. GO AWAY AND HAVE SOMETHING TO EAT. GO AWAY AND HAVE SOMETHING TO EAT. COME BACK, AUDIENCE COMES IN. EAT. COME BACK, AUDIENCE COMES IN. WE HAD ABOUT AUDIENCE OF ABOUT COME BACK, AUDIENCE COMES IN. WE HAD ABOUT AUDIENCE OF ABOUT 400. WE HAD ABOUT AUDIENCE OF ABOUT 400. WE START TYPICALLY AT ABOUT 400. WE START TYPICALLY AT ABOUT 8:00, SAY, AND RECKON TO FINISH WE START TYPICALLY AT ABOUT 8:00, SAY, AND RECKON TO FINISH BY HALF PAST NINE TO GET 8:00, SAY, AND RECKON TO FINISH BY HALF PAST NINE TO GET HALF-HOUR RECORDED IN THAT BY HALF PAST NINE TO GET HALF-HOUR RECORDED IN THAT LENGTH OF TIME, AND THAT WAS THE HALF-HOUR RECORDED IN THAT LENGTH OF TIME, AND THAT WAS THE ROUTINE. LENGTH OF TIME, AND THAT WAS THE ROUTINE. MONDAY, YOU GO INTO REHEARSAL ROUTINE. MONDAY, YOU GO INTO REHEARSAL STUDIOS, READ THROUGHOUT NEXT MONDAY, YOU GO INTO REHEARSAL STUDIOS, READ THROUGHOUT NEXT EPISODE, AND START AGAIN. STUDIOS, READ THROUGHOUT NEXT EPISODE, AND START AGAIN. THIS HAS BEEN MY PLEASURE AND EPISODE, AND START AGAIN. THIS HAS BEEN MY PLEASURE AND PRIVILEGE. THIS HAS BEEN MY PLEASURE AND PRIVILEGE. THANK YOU FOR YOUR TIME. PRIVILEGE. THANK YOU FOR YOUR TIME. >> IT HAS BEEN FUN. THANK YOU FOR YOUR TIME. >> IT HAS BEEN FUN. >>THANK YOU.