About Time (2013)

1. Okay, so here we are, so this is Bill and Vanessa,

2. and Domhnall, referred to in most interviews as your leading man,

3. and Lydia and Tom,

4. and we're just gonna watch the film and say whatever comes to mind.

5. Too tall. Too skinny.

6. - T-shirt. - Nice t-shirt.

7. - That's the first thing. - Word association.

8. Something rectangular, busy and unsentimental.

9. Lindsay had to do quite a lot of acting to be rectangular, didn't she?

10. - She does. - She really does.

11. Le Carré. Which one is it?

12. Nice.

13. Now, tell me, how would you rate your actual table tennis skills?

14. That's a really lousy question to ask me,

15. you know that I'm the worst table tennis player in the world.

16. I thought we did pretty well in the end.

17. There was a time when they talked about doing CGI balls.

18. They were going to go like that, and put it in like that.

19. - No! - Yeah.

20. I didn't know that. I'm glad I know that now.

21. Okay, so I remember this.

22. I remember the second cameraman, the second cameraman coming over

23. and saying, "I really think she should be wearing pants."

24. I still kind of think...

25. Are you not wearing pants?

26. - No, she definitely was. - No pants.

27. Look at that.

28. I think she's wearing those pants but they were just invisible in the chair.

29. This great land.

30. So, one of the things

31. I think that is freaky about the film is that we did all the scenes on the beach

32. in one day. Don't you think? When you watch the movie, it feels like

33. we must have done at least four days, but it was one tricky day.

34. On the nudist beach.

35. Was that a nudist beach?

36. I don't think it was a nudist beach, but people certainly went there in the nude.

37. There were lots of nudists.

38. Yeah, it's not classed that way.

39. Hey, Phoebe.

40. When you say Phoebe, you mean Matilda, her daughter.

41. - I mean, sorry, I mean... - Yeah, sorry.

42. That is Matilda Sturridge, who is the sister of Tom Sturridge,

43. who is the star of The Boat That Rocked, and the daughter of Phoebe.

44. Do you have any feelings about Tom here?

45. Anything you'd like to say about your co-star?

46. Yeah, he's nice, he plays the guitar very well.

47. - Good singer. - In real life.

48. That's my son.

49. - Not him. - In the check shirt.

50. - And that is Jenny Rainsford. - Who is brilliant.

51. She's a proper genius.

52. - Fantastic. - Yeah, she's amazing.

53. - She is brilliant. - She's so good.

54. She is brilliant.

55. And then I went, "She's so good."

56. Tom, are we relying on you to be the one who chips in

57. with unpleasant and unfriendly comments?

58. If that's what you need.

59. The kid sings. I feel that part could have been better played

60. if you'd spent more time casting.

61. We should have cut this. We should be out of this scene by now.

62. Yeah, that's a good bit.

63. You see that she's not only a comic genius, she also does the drama.

64. Yeah.

65. - This is the bit. - This is the incest scene.

66. This is the bit where we confuse people.

67. He looks like he's got a hump.

68. You've collapsed and you're recovering from your hump.

69. And this is where it all goes wrong. Watch out.

70. Why is that...

71. - It was like, "No, I can't say that." - It's not okay.

72. I love pink balloons in real life, and that's why that pink balloon is there,

73. that's why I tapped it as I went in.

74. Yeah. To say, "Thank you."

75. Why do you like pink balloons?

76. I've always loved them for some reason, yes.

77. So you had some influence on what was...

78. Well, when I asked for a pink balloon to be near to her, it was.

79. When we started the film, one of my main

80. things was always that in this scene we should be able to see the sea.

81. - Outside the window, and all the... - What happened?

82. Well, you can just about see it, but all the choosing of the house and everything

83. was dominated by the fact that we wanted to find somewhere that was...

84. So, this is me dressing a shot...

85. Yeah, that's you dressing.

86. - Yeah. - Basically.

87. Bill, could you get out of the way of the sea, please.

88. I moved then. Do you see that?

89. Bill, we had talked a lot about this scene, didn't we,

90. and that it was a slightly weird first scene.

91. Yeah. Well, just that you can't get away from the fact that in a minute,

92. you're gonna mention time travel

93. in a normal tone of voice.

94. Travel in time.

95. - Here we go. Boom. Trailer. - Straight in.

96. Yeah. Thank heavens, yeah.

97. How did you find the house?

98. Long search. It was originally meant to be set in Scotland.

99. People often ask me that.

100. But it turned out in Scotland there aren't many houses right next to the sea,

101. and those that are look like castles, because the weather was so bad, so,

102. we just searched and searched.

103. - And you still do? - Absolutely.

104. That's a picture of me, in the background there, when I was seven.

105. It was my first time on a film set.

106. That picture. Yep.

107. I'm holding an Alfred Hitchcock book.

108. Just for anybody interested in...

109. Is that the sort of thing that we talk about now?

110. There was a silence, so I just...

111. - If it's true, which it isn't. - Although it is.

112. - Which it is. - Which it isn't. But if it was, how would I...

113. Look how red my hair is.

114. The "How" is the easy bit, in fact.

115. You go into a dark place, big cupboards are very useful generally.

116. Bob Geldof saw the film

117. and said it was the first film he'd ever seen in which every single

118. person wore a jumper in almost every single scene.

119. And he criticized me for it, and I feel slightly bad now,

120. because I'm actually wearing a jumper while we are doing this commentary.

121. And every time we came to you with costumes,

122. you would always say, "That would be nice under a jumper."

123. Yeah.

124. - Fairly fond of? - Okay.

125. That's a good jumper, though.

126. That is a nice jumper, yeah.

127. I have to say, from a neutral point of view, in praise of the performers,

128. that I do think one of the most remarkable things about the film,

129. for anybody who watches it, is your ageing.

130. Don't you think that Domhnall does from 21

131. to 29 in a very mysterious way?

132. Because you didn't grow a beard, or anything like that,

133. you're pretty well the same, but it's so...

134. The prosthetics were just so perfectly done.

135. - Very subtle. - Yeah.

136. Yeah. These were scenes I probably did too many takes of.

137. You going into the cupboard.

138. Yeah. We did a day on the beach and a day in the cupboard.

139. - Did you? - Yeah, we did a long time in the cupboard.

140. I love that, it's like Buster Keaton.

141. Is that sped up?

142. No, just fast cuts.

143. - Overacting. - Acting, yeah.

144. That's the speed at which you were acting.

145. - That's the what? - Don't know what came over you.

146. - You had coffee. - Yeah.

147. Wired?

148. We did assume all the way through the time we were making it

149. that all the flashbacks would have a fancy effect on them.

150. We went to five special effect houses and they "psychedelized" it and changed it

151. and cut things out and wound the film backwards.

152. - And it was a disaster when we tested it. - Why? Cheesy?

153. 'Cause it put people in a completely different frame of mind,

154. and in the end, the absolute pathetic simplicity of simply having some bits

155. turned out to be right for the film.

156. The simpler it is, the more quickly you accept it.

157. Yeah, and they do that thing where they cut out bits of the picture and put it

158. so it was like 3D.

159. That's really weird.

160. Hooray.

161. Jenny gets a kiss.

162. Jenny's engaged, everybody.

163. - Is she? - Yeah, bumped into her.

164. Engaged to be married. On the day she got engaged.

165. You've run into her on the day that it happened?

166. Yeah, she said that was the day!

167. I bought her a bottle of champagne from everyone.

168. That's nice.

169. And the Amelie poster is up there on your request.

170. That was also my request, yeah.

171. The Amelie.

172. Yeah, I had kind of a major problem with Audrey Tautou when I was younger.

173. Yeah, but it also seems fitting for the feeling of the film.

174. You know, wonder in every moment and all that sort of stuff.

175. In my room, there's a John Lee Hooker album, somewhere on that desk.

176. - Just so you know. - And that was yours...

177. That was my request.

178. There's two John Lee Hooker albums on there.

179. Oh, my God. Sorry.

180. - Jesus. - That's one of your best bits!

181. Oh, for God's sake!

182. Yeah, if anyone is watching this, you have to understand that Bill will often shut his eyes.

183. It's not that he's fallen asleep.

184. No, I'm awake.

185. - It's that he's... - He's bored, he's horribly bored.

186. - ... wide awake and in great distress. - I'm painfully awake.

187. Oh, God.

188. Bill, I love it. I love it so much.

189. Thank you, thank you. That's very kind of you.

190. Nice trousers.

191. Sorry, I'm just trying not to look at the screen.

192. I would like to assure anyone who's watching this that the blonde woman there

193. and the chap at the end are going to appear in the film at some point.

194. What do you mean? I'm a family friend!

195. Also though, if this is your first time watching the film...

196. A couple of friends here... The dog even appears

197. in pretty well the final shot of the movie.

198. I would suggest if this is your first time watching the film

199. to watch it without the commentary, first of all.

200. - Look at those shorts. - Great shorts.

201. Check those shorts.

202. That t-shirt must have taken some choosing.

203. That's such a cute little car, isn't it?

204. - So, that was the most dangerous moment... - How did you find that car?

205. Oh, there's Margot.

206. That was the most dangerous moment in the film,

207. because Lydia, you can't drive, can you?

208. I cannot drive.

209. Yeah, so she kept almost crashing into the house.

210. Yeah, every time we did it we got closer and closer...

211. - Did you stall it? - Oh, yes.

212. Oh, yeah, all kinds of stuff.

213. I also became aware for the first time, 'cause I can't really drive,

214. of the amount of conversations that happen outside of your earshot

215. about how terrible this is when you can't drive.

216. I was getting really confident, and apparently everyone else was really worried, yeah.

217. Didn't you have to stop a car with Jeff Bridges?

218. That was actually the film I'm making. But don't tell anyone that.

219. Oh, shit.

220. This is a stupid question.

221. When we get to the successful sunscreen... Sun cream bit,

222. do I have an awareness of the previous one?

223. Or do I just assume he got good or something?

224. That's the kind of difficult question

225. which people were asking all the way through the production.

226. 'Cause I don't know that...

227. 'Cause later on, when you say, "Have I done this before,"

228. he's not aware of the fact...

229. No, but I think just the fact that Tim's being cool means he probably knows.

230. So, this was a difficult day for you, Domhnall.

231. Yeah, when he waved his fingers like that, I think that's a clue.

232. That's a clue that he's been practicing.

233. Yeah. Oliver Hardy, yeah.

234. I think Margot is so brilliant in this scene.

235. Just a slight abuse towards a geeky guy from a good-looking girl,

236. you know, the really unnecessary keen and all of that,

237. she did that so well, as though she's used to being pretty.

238. On the other hand, she is the worst tennis player in the world.

239. And when she got the part, she lied to us all, saying, "Oh, no, I'm great at tennis.

240. "What do you think, I'm an Australian."

241. And this is... She never got the ball over the net.

242. But she did it so confidently.

243. She was so confident.

244. - That's going down. - That's going into the net.

245. That's going into the net.

246. There's no ball there that time.

247. But she's got the look.

248. Yeah, that's...

249. Oh, she's just so naturally great.

250. She's good at that arm raise thing.

251. I read for that part, Richard, do you remember?

252. And I just overcooked it so much.

253. Well, you said you couldn't play tennis. That was your big mistake.

254. Yeah, I said that. I said that.

255. So we cast an Australian who couldn't.

256. I think I did something to Tim's character, I went like that or something,

257. you're like, "No, that's way too much, gotta be Joanna."

258. Lovely having Charlotte here all summer.

259. Charlotte? Who's Charlotte?

260. I definitely remember that this was one of the scenes where the improvised dialogue

261. between you and Lindsay was much better than what I'd...

262. There were lovely, long discussions about how badly her mother

263. or your mother had disliked her, do you remember that?

264. And about how she cooked me curry and I couldn't speak because it was our first date.

265. There goes August.

266. I've introduced him to most things, haven't I?

267. I also remember that because I'm so pale, I had to hold an umbrella

268. to keep the sun away from my ginger, ginger face, and it was a Union Jack umbrella,

269. and then they replaced it with a massive Irish flag stuck on top of it,

270. to make me happy, which I thought was a very nice thing to do.

271. Incredibly sensitive production.

272. Yeah.

273. Well, you'd got the art department around your little finger.

274. - Charlotte. - Yeah!

275. Are you aware when you watch it though,

276. 'cause I often think when I watch movies they're sort of like a production diary for me.

277. Once they're locked, you just think of the day.

278. Are you noticing the cuts as we go through, are you noticing that there used to be three

279. visits into the room in this bit, or that when Charlotte arrived, she arrived three times

280. and we cut that bit.

281. Yeah, and there was a lot longer bit with sleeping, with...

282. You remember that whole thing of waking up, his first time going back in time travel,

283. and it going wrong. And he came into his bedroom and there she is

284. and that's where he realizes it can be dangerous.

285. Yeah, the first time you watch it normally, you just think,

286. "Well, normally this makes sense, 'cause I didn't do that other thing."

287. Yeah. Yeah, yeah, yeah.

288. That's very sweet of you.

289. God, "That's very sweet of you." What a terrible thing to say.

290. - I know. - Yeah.

291. creeping along the corridor while we still had time.

292. Yeah, it's so funny you say, "That's sweet of you," because

293. when I was young I had two older sisters,

294. and I always was desperately in love with all their friends,

295. and we lived in Sweden, and every single one of them would always go...

296. Which means, "He is so sweet."

297. It was always, you're so right, that "sweet" was the killer word.

298. "He's so sweet."

299. "You're such a good guy."

300. That gets you the girl in the long run, just not when you're 19.

301. You think it works out in the long run?

302. That's an interesting moment, there.

303. We should've dressed you even more radically differently, because I notice

304. when audiences are watching it, even though you're dressed very differently,

305. I don't know that everybody notices the...

306. No, no, I really liked it, though.

307. You should have been wearing a tuxedo.

308. Exactly, you should have been wearing a red velvet waistcoat.

309. People will notice that she's wearing something different, though.

310. And even if you had absolutely no hair

311. because of some bizarre medical reason.

312. She just has the best smile, doesn't she? Like Rachel.

313. And I...

314. I just wondered whether, by any chance...

315. She does a very good lean in.

316. - That's a good lean in. You lean in. - I went in to kiss her.

317. This is...

318. Here we go.

319. - There. - Look!

320. And here comes rejection.

321. All of this stuff was filmed in the house, and the house was a lovely part of our lives.

322. Tom, you used to come around on days when we weren't even shooting.

323. I just came for the summer, yep. Yep, sad. But yeah, it was so lovely.

324. Suddenly, Tom would be there in his shorts and his bicycle, saying...

325. "Just passing."

326. But none of this was on a set, was it?

327. I mean, this was all in the house, these are all corridors and guest rooms.

328. That was like the middle section of the house, and then on either side of us,

329. there was extra, kind of, rooms where we would do makeup and everything.

330. Here we go, another dangerous moment for everyone involved as Lydia tries to drive off.

331. Oh, yeah.

332. - It was scary driving off, I was clinging... - I can see you clinging for dear life!

333. Her trying to put her arm back in before you get to the gate, just in case you take it off.

334. Yes! Yes.

335. I love this, this is so good.

336. Wasn't Rich an absolute heaven on the shoot?

337. He's literally the nicest, apart from you, Bill.

338. Not you, Richard.

339. - The nicest man. - The nicest man.

340. I mean, I do think obviously actors are actors, but sometimes you do obviously

341. notice the real person. I mean, you were cast,

342. Vanessa, before you said a word in the audition.

343. I think you commented on something I was wearing.

344. You were so noisy and similar to the character. What's that?

345. Well, I was waving and Lydia went like that.

346. - And I wish I had done that as well. - I think they'd edit it out probably.

347. That might be one for the notebook.

348. That's the one bit of Abbey Road for the whole two days that we shot there.

349. Now, what's gonna happen?

350. Hello.

351. - Hello. - Oh, yes.

352. He's in the film.

353. Now, suddenly there's fear.

354. What the fuck do you want?

355. Should we do a tally of how many fucks he says?

356. Didn't he use them all up?

357. - James Lake. - What about him?

358. I did have a name.

359. - Yeah, that's right. - I broke a rule taking this part,

360. because my rule used to be

361. never play a part that hasn't got a name.

362. Oh, yes.

363. I know.

364. I was once... We offered a part in Four Weddings of Mad Old Man

365. to John Gielgud and he turned it down.

366. And his agent said, "If you'd called him Lord Birkenstock, he would have taken the role."

367. - But he wouldn't do it. - Amazing.

368. Hang on, that's my own shirt.

369. Yeah. Well, yeah.

370. - I've just thought of something to say. - Well, if we're going to start with that.

371. I'm wearing my own costume.

372. - Now, what I want to know... - There's more to say about the shirt.

373. - Oh, sorry. - Well, just this shirt was given to me by...

374. It was a cast-off of Dominic West's of The Wire.

375. Who in turn had nicked it off a girl who lived on Sunset Plaza Drive.

376. That's a really good story, if she ever watches this commentary,

377. she'd be like, "Can I have my shirt back?"

378. I use it in as many films as I can, because I think it makes my eyes look better.

379. - Nice. - It does, it matches your eyes beautifully.

380. The fact that you've mentioned The Wire may double the DVD sales!

381. - It's actually incredible. - I know what I'm doing.

382. I don't say much, Richard, but when I say, it's telling.

383. Can I just ask who... Right there, he said,

384. "Does your mom still look like Andy Warhol?"

385. Can I ask who came up with Andy Warhol, 'cause it used to be a different name.

386. Yeah, it used to be Churchill. And no one dared tell Lindsay

387. that we'd changed the line,

388. in case she thought it interfered with the integrity of her performance.

389. Nice whistle, Domhnall.

390. Thank you. Yeah.

391. Josh! Hurray.

392. - He's great. - A real thrill.

393. You know, pals, et cetera.

394. Is Josh nice in real life?

395. - Yes. - He's so lovely.

396. Josh is completely charming, yeah.

397. And he's got very cool glasses, also.

398. - Very cool glasses. - Got a collection of them.

399. He's so good.

400. Great shot.

401. That was just lucky, that wasn't on purpose, I think pretty well luck, wasn't it?

402. Wasn't that axis just being in tune with each other?

403. - Yeah. - Do you mean drinking at the same time?

404. Yeah.

405. No, we did, we did plan that, 'cause that was a longer bit of thing going on.

406. Yeah, yeah, there was more stuff there.

407. That's funny.

408. Then there's a girl here who looks like Geneviève Bujold, has she gone by?

409. Yeah, we missed her.

410. I was a bit frightened of Josh, because

411. I think I'd been told he'd done a play and there was a review in which he'd been

412. described as "a young Tom Hollander."

413. Why does that scare you?

414. Well, when it happens to you,

415. you're suddenly very conscious of your own mortality.

416. And a sense of loss, which is...

417. So every time you see him, you think about death?

418. That's a weird link to a really very nice young man.

419. No, no, it's not his fault, obviously, it's those awful critics again.

420. But it was... Yeah, I was frightened of him.

421. So, Domhnall, it would be true to say that we hadn't thought this through,

422. this incident that's about to occur, isn't it?

423. I would say that that wasn't my job.

424. - Yeah. - And that you hadn't thought it through.

425. I hadn't thought it through, so I thought we could film it in the dark,

426. but it turned out that a cameraman's dark is bright.

427. So we did the scene and it was a complete

428. failure, because everybody could see each other.

429. Yeah.

430. And then we went into a studio later, didn't we, and we did it again in weird

431. pitch-darkness, all sitting at a table. I think there was even a time we did it with

432. things over our eyes, and then we rerecorded most of it, didn't we?

433. This was the scene into which most work went in the film.

434. And we went to the original, didn't we? Before we started filming, we went to

435. the actual restaurant, which is really nice.

436. There is such a restaurant?

437. Yes, and we ate there when we were in prep.

438. I remember this being very, very tricky, because when you said something

439. you thought was mildly amusing, and anyone smiled...

440. You can't tell, you couldn't tell.

441. So you couldn't tell whether or not that had worked.

442. Or you'd offended someone, possibly either.

443. I remember Rachel saying, "Are you still there, Richard?" quite a lot of times.

444. You went quite quiet, too. Unusually.

445. Yeah. Maybe you drank more than you thought you did and you fell asleep?

446. Because you don't know, because you've got to put your finger into your glass

447. to see how full it is before you drink it.

448. And hope it's your glass.

449. - Yeah, exactly. - You only think it's a glass.

450. And then, don't go for the fish option.

451. You also end up eating with your hands, which is not romantic at all,

452. because you have to put it onto the fork.

453. How do they advertise the restaurant?

454. I mean, what is it supposed to be...

455. I think they say, "Huge numbers of celebrities eat here."

456. They've got them up on the wall.

457. Prince Harry's favourite restaurant.

458. I'm dying to tell you who's in tonight.

459. You won't believe. Exactly!

460. Somebody did touch Rachel's elbow when we were in the real restaurant.

461. A stranger?

462. And she did ask was it me...

463. Hey, there you are!

464. Did the line producer ever suggest not shooting

465. - that scene and just doing it in post? - Yeah.

466. - And saying it would've been cheaper. - We would've saved money.

467. Well, maybe to do those little silvery movements,

468. that would have been CGI expensive.

469. That's true. Now you've given away the magic of the movie!

470. You did actually film that, though, in the restaurant?

471. Well, no, but then we did bits... There were bits of it.

472. - Was there a conversation about... - Not filming it?

473. - I think there was, but I curtailed it. - I love this little stumble that she does.

474. - I remember, Richard, you... - She did it every time.

475. The stumble was planned.

476. You had this track on, while you were filming this. You had the track

477. on your headphones, and then you played it back to me, and I had the headphones on,

478. and I just... I fell so in love with it.

479. This is the Paul Buchanan track Mid Air. Paul Buchanan was with Blue Nile.

480. And Bill gave me a little thing that you stick into the computer with all, everything,

481. a teddy bear, with everything about them.

482. No.

483. But this was my dream, was to try and give Rachel a good entrance

484. by you sort of falling in love with her in the dark, so the first time you saw her

485. you'd already like her.

486. - I hate this bit. - Why?

487. Only because he doesn't retain the number and it drives me nuts.

488. Later? Oh, yeah.

489. Oh, good.

490. No, no, I love the whole bit. I think it's beautiful.

491. You think this isn't his finest work?

492. No. I think his hair looks particularly good in this scene.

493. And I like the shirt, and I love that dress.

494. Yeah.

495. And my hair? It's not too brown?

496. I love brown.

497. - My fringe is new. - The fringe is perfect. Fringe is the best bit.

498. Mary!

499. We have to go! I found a cab and his dodgy friend is about to assault me.

500. Okay, I'm coming.

501. When you've got a line, you really use it, don't you?

502. You really go for it.

503. The one line. Shout it...

504. I think in the script it said, "Gently whispering to her friend."

505. From off, off-camera.

506. My moment!

507. Exactly. I think she's learning we can do more there.

508. Kept running into shot.

509. Here's Paul.

510. You gave me that song right when I was auditioning.

511. Look, Domhnall, can I just say, you're excellent in this.

512. Thank you.

513. Did I tell you?

514. When we were planning this, I got Rachel to record two bits

515. of thing for me before we started,

516. so I would fall in love with her voice, and I got her to record the lyrics for Mid Air,

517. and a Philip Larkin poem.

518. Which one?

519. It was called First Sight.

520. "Lambs that learn to walk in snow."

521. Tom, you're very good in this scene.

522. - How often do you listen to it? - I listened to it every morning before work.

523. - Before you went to work? Every day? - Yep.

524. As always, on the day, all the focus was on how to do the cut finger, wasn't it?

525. I remember we lost interest in your performance,

526. and just said, "How are we gonna do the blood?"

527. Which doesn't actually feature, does it?

528. Yeah, it's just there on the edge. Isn't it?

529. In the history of theater.

530. - No, no, no. - Yes, yes, yes.

531. He didn't just forget his lines. He forgot his lines to the extent

532. that no actor has ever forgotten their lines before in the annals of dramatic art.

533. The reviews won't say, "Major masterpiece gets unveiled,"

534. they'll say, "Major actor gets Alzheimer's."

535. I feel all the anger and hatred you have against live theater coming out in this.

536. I know. I'm not being funny, but it's affected my ability to walk out onstage at the moment.

537. All your unhappiest moments in the theater are condensed into this moment of hatred.

538. Was it not even Kate Winslet, and then you just made it not Winslet, not even Winslet.

539. You took out the "Kate", I think.

540. I don't... I'm happy to take credit for anything. I have no memory of that.

541. I don't... I mean... I've actually had lovely times at the theater,

542. so I think it's just generalized hatred focused into your script.

543. Just generalized?

544. Yeah, I'm grateful for the times in plays, but when it's bad, it's awful.

545. Here's the man himself.

546. Hello, Sir Tom. I'm a friend of Harry's. How's it going with the lines?

547. I'm sorry, what do you mean "the lines"?

548. Richard was in such lovely form that day, wasn't he? I mean he was in for one day,

549. he got to sit down during most of it, he was very happy about that.

550. And he had the idea of just putting makeup on one side.

551. We should say, that's not a mistake by the makeup.

552. Get out! You ginger twerp. Go on!

553. Patronizing piece of...

554. This is a brilliant bit of acting, here.

555. Absolutely livid, but still.

556. He sells the dummy. Exactly.

557. And Philip Voss was in Four Weddings,

558. he played the dad, he was brilliant in that.

559. I have lived many weary years...

560. - It's brilliant. - ... but never,

561. in that long catalogue of wasted time,

562. have I ever seen such an atrocious miscarriage of justice.

563. I remember all these shots were caught traditionally at the end of the day,

564. we had about seven minutes. I seem to remember Tom, you saying the words,

565. those fateful words, "Are you sure we've got it?"

566. To me quite a few times in the ten minutes after wrap.

567. But I think we did.

568. He does fear so well here, that moment of terror.

569. What was interesting is that he did it so much more seriously

570. than I had in my head, which, of course, is what he had to do,

571. 'cause it would have been the worst thing in the world.

572. - Worked brilliantly, yeah. - Makes me feel sick to think about it.

573. I remember the three of you talking, you and the two Richards talking onstage,

574. and I went off and just kind of eavesdropped,

575. right behind you, spookily close behind you,

576. just into the stories that you were all telling and everything.

577. What was it? Just bitter actor moaning?

578. No, they were... Well, there was a little bit of that.

579. No, it was really... It was brilliant.

580. It turned out almost...

581. It was the first time, I think, they'd been in something since Withnail.

582. - Yeah. - Together.

583. And Murray Close, who was the photographer on the shoot,

584. had been... His first job was with them.

585. - Yeah. - So it was very nearly a reunion,

586. and I got a lovely note from Richard afterwards,

587. saying, "How lovely that we were given that day."

588. That's nice.

589. That prompter...

590. - Yeah. - Why was he not prompting him?

591. Because, originally, he said "gentlemen."

592. And then Richard got to "gentlemen" and then still couldn't...

593. - And he couldn't... - It was like he couldn't do...

594. Even one word wasn't enough of a prompt, but then Richard Curtis said to cut that bit.

595. By the way, I think we've got lots of other reaction stuff

596. that I think we could sell to other films

597. of you in that bit.

598. You did such a wide range of emotions.

599. of a guilty man!

600. There he is.

601. It's nice that he has a bow, isn't it?

602. - Yeah, it's quite odd that it's the last... - Yeah, the playwright runs last.

603. Gorgeous. It's beautiful.

604. Craig David.

605. You missed the best scene, you little twerp.

606. Sorry.

607. What did you think of the set?

608. - I thought it was incredible. - Did you?

609. "What did you think of the set" is such a creepy...

610. - Yeah. - The way he did it. "The set."

611. Also, this was a very hurtful moment, because, Tom, you then said...

612. Your next line was, "I thought it was very brown."

613. And I remember worrying for our set designer...

614. - Oh, no. - ... who'd put so much passion into it.

615. Now what do we think of Domhnall's running?

616. Okay, look, Richard, you told me that running...

617. He's running in character.

618. - Thank you, Bill. - That's not your normal run.

619. If he were in another kind of film, he wouldn't be running like that.

620. Also, can I point out we're on that...

621. How would you describe his running, then, when you say "like that"?

622. If it were an animal...

623. - Platypus. - ... it would probably be a rabbit.

624. - That was good. - Animals can run, though.

625. - Animals can really shift. - Yeah.

626. Is that one of the things they do at RADA and places like that, do you have running?

627. I didn't even get into drama school, I don't know.

628. - I'm sure you did. - Never did.

629. - Lydia, did you go to drama school... - We didn't have running classes.

630. and did they teach you how to run like a rabbit?

631. What, like the Tom Cruise, the Keanu Reeves run?

632. You're quite a good runner, actually, aren't you?

633. - Yeah. - My inspiration is Keanu Reeves

634. in that surfing movie.

635. Now Tom,

636. I have to praise you in this. You're absolutely brilliant in this scene.

637. And every version was funny,

638. but your little dance here is pretty well my favourite moment in the film.

639. I'm speechless.

640. Again.

641. That is...

642. Upstaged by Kate Moss again.

643. - Just in the prime. - Yeah.

644. - This always happens. - Just by a steal.

645. This was a good day, wasn't it?

646. - Maybe good two days. - You had to eat so much.

647. No, I was quite frustrated on this day because we ended up shooting a load,

648. and the end of that day was really incredibly rushed, remember?

649. The approach to Rachel ended up being really, really fast,

650. because we got set back with all this stuff

651. of trying to keep the camera in the same place.

652. This was gonna be a longer montage.

653. - How was that part? - That was tough.

654. - This was disgusting. - You had to eat tonnes of stuff, didn't you?

655. I ate so much more than what's in this, too, which really makes me annoyed.

656. Look at those shorts, again.

657. - Nice shorts. - Yeah, thank you.

658. Did you keep those shorts?

659. I'm wearing them underneath these trousers.

660. I don't blame you.

661. How's Jimmy?

662. And then Lydia wore them.

663. - And work? - They've sacked me.

664. Idiots.

665. - Coffee? - Please.

666. I can't tell you how much the editor, the fabulous Mark Day, hated that cut.

667. - The jump-cut to the... - Down the line...

668. - The coffee. - The jump-cut to holding the coffee.

669. - Oh, my God! - What?

670. It's her.

671. It's her!

672. That's her!

673. - There's the Paul Buchanan song again. - Yeah.

674. You go, girl.

675. I was so thrilled that we said in the script everything she wears is purple.

676. And everything you did wear was purple.

677. How are you meant to concentrate on what I'm doing?

678. Talk about being upstaged by Kate Moss.

679. - Again. With nothing on. - She's topless.

680. - Hi. - Hi.

681. We lost a certificate, I think, for that.

682. It was worth it.

683. It's so good to see you.

684. Rachel is so brilliant in this.

685. - Absolutely. - I remember watching this scene...

686. - She's brilliant. - ... on the monitor just thinking...

687. She's just completely brilliant in all of it.

688. I think you've mistaken me for someone else.

689. I remember her trying on all her costumes, and they were always the sweetest...

690. And you had such a clear vision of how Mary should look, didn't you, Rich?

691. I remember you saying.

692. She really did, and she pulled it down because she just wanted to look a bit

693. clumsier all the way through than I necessarily had in mind.

694. - The great big, red cardigan that she wears. - Particularly at the start.

695. And the glasses are so cute.

696. - It's a nice fringe, by the way. - God, it's new and

697. - probably too short but... - No.

698. I love all that.

699. And the way she delivers this line coming up, "Completely..."

700. - What does she say? - Total stranger.

701. - Total stranger. - Yeah.

702. And you're a, you're a total stranger.

703. Total stranger.

704. Yeah.

705. - Yeah, kind of. - Okay.

706. - Bye, Mary. - Bye.

707. Massive ADR work to get that sound funny.

708. There was.

709. We did seven or eight of them.

710. - Screaming, shouting... - We were there for a while.

711. We did a lot of ADR in this film.

712. - Because I like to see you. - A lot of...

713. It's not because we needed to change anything.

714. Sorry. It's me again.

715. It's some very good face-work here.

716. It's too much, probably, wasn't it? It was endless.

717. - Look at that! - Yeah, I know.

718. Brilliant.

719. Tim is a total stranger whose mother's name is Mary.

720. - My real mother's name is Mary. - Really?

721. - That's useful. - Yeah.

722. Was that a coincidence?

723. It was coincidence, but I think a lot of people thought that the whole story was going to be

724. that Bill and I were the same person, and Bill was me when I was older,

725. because my mother's called Mary and then she's called Mary.

726. That's what people thought of the whole...

727. What, who've watched the movie?

728. No, not who've watched the movie. No, but the trailers, they thought that,

729. 'cause they give away a certain amount of the story,

730. everyone thought the twist was going to be...

731. - That's weird. - If only I'd thought of it,

732. - beforehand. - Yeah.

733. But then it would have been very strange.

734. Very good timing here, Lydia, very good timing with that approaching.

735. But you have to promise that you are not one of the following things.

736. I will not yet, quite, there's a long speech to go.

737. Two, a fringe fetishist.

738. She had a lot of problems with the word "fetishist".

739. "A fringe fetishist", she could never say it all.

740. - God. - Really?

741. Yeah. God, yeah.

742. Do you agree that the magic of her lies in her history?

743. That the informality of her early shots

744. compared to this stuff so you just always know...

745. There is a sale of Kate Moss photographs coming up at Christie's this week.

746. And the least expensive one is 10 or 20,000.

747. By Mario Testino?

748. That was amazing, that exhibition that he did.

749. There are one or two Testinos, but in the end,

750. everyone from Irving Penn to Testino

751. have all taken one photo of her now, so a lot of them are very classic photos.

752. It was cool 'cause it took a huge amount of work to get that gallery set up, didn't it?

753. - 'Cause you built it for the... - Yeah, with Mario, who agreed to it,

754. and it's part of an exhibition that he's doing.

755. I need to say, Harry, who's about to enter...

756. - Yeah. - Yeah, amazing.

757. I thought he made everything okay, 'cause I think if Tim just goes back in time,

758. and stops her having a boyfriend,

759. it's terrible, but he made him such a hateful person.

760. He doesn't... Look at that run!

761. - Look at the run. - He knew it.

762. He was so mindful of it.

763. He said, "I'll make him as attractive as possible.

764. "I'll make him really nice. I'll just make him the nicest guy in the world."

765. He had even chose the watch to be really appropriately Rupert.

766. Get some mixed popcorn, share a Coke.

767. Not a little jog.

768. - It was so good. - Immediately, he's like, "I don't like that guy."

769. Well, it was only a week ago, actually.

770. I was drinking that milkshake which was so rank.

771. I wanted it pink, specifically, and they didn't have any pink,

772. so they had to mix strawberry yogurt with awful, gone-off milk.

773. No. No.

774. It was. It was.

775. 'Cause I was like, "It has to be pink."

776. Okay, okay.

777. It was, what... Joanna?

778. - June 17th. - And Jo was having a little party.

779. A living hell from which Rupert, thank God, rescued me.

780. And where was this terrible party?

781. My brothel of a flat.

782. Which is where, though? That's the question, isn't it.

783. What are you, a detective?

784. No, sorry, I've just got a very visual imagination.

785. I like to imagine stuff completely.

786. Can't believe you bought that, to be honest with you.

787. It's a terrible excuse.

788. Very nice acting in this bit, I think, Domhnall, very funny.

789. When I'm being interviewed about the film,

790. I say that one of the things about you is that you are very good at doing the funny bits,

791. 'cause you used to be in sketch shows and stuff.

792. Because that is the secret thing that most

793. actors, in a way, can't do, is actually get the joke bits properly calibrated.

794. You two are such a lovely couple.

795. - This is pretty dark... - It's very sweet that he...

796. - This is Harry's best moment. - Yeah.

797. He's cute.

798. - I like him. - Yeah, me too.

799. He made that up on the spot.

800. That definitely wasn't in the script.

801. I hated this 'cause I run into the toilet.

802. And you just said, "Look more determined when you run into the toilet."

803. And I just thought I looked like I really was ill.

804. That's a good shot. I like that. You're very good at that.

805. - The watch. - That watch.

806. I always say that to people, "He's not good at working in hot conditions,

807. "but he's brilliant at the cut-aways."

808. They get me in. I'm Tom Cruise's man when it comes to watch acting.

809. Hello. Do I know you?

810. No, no, no. I'm a friend of Mary's.

811. I love the way you say "bye" in a minute when you walk off. It's so posh.

812. Hotdog?

813. - Dog? - Who has hot dogs at a party?

814. If the Queen ever said the words "hot dog", it would have sounded like that.

815. I love the way you said it.

816. "See you later." I love it!

817. I said to you, didn't I, "Take the edge off the poshness," and that was brilliant,

818. the way you really took it right out.

819. - Talking like I have a sore. - That's very nearly...

820. It's very nearly East End. In comparison to where you started,

821. it's very nearly the East End.

822. Why's that girl so posh? I don't know why.

823. That's the first thing I thought when I watched that,

824. I thought, "Oh, my God, do I sound like that?"

825. - No, it's great! - It's perfect.

826. 'Cause you're meant to be that for her.

827. You're meant to be the aggressive one.

828. I know, you always thought that.

829. Now, wouldn't it be true to say, Domhnall, that we shot this scene...

830. - Two separate days. - Two separate days?

831. - Because it started to rain so badly. - Yeah.

832. So that's one day.

833. - And then that's the next day. - That's the other day.

834. When it starts to rain at the restaurant, and you guys are using umbrellas,

835. and you were considering whether to use umbrellas through the whole scene.

836. - And I was like, "Domhnall..." - That's right, yeah.

837. That is one of the issues.

838. One take of this was completely inaudible.

839. I always think the key thing with her is the history,

840. you know, the informality of her early shots compared to high fashion stuff

841. so you always know that underneath she's still just the same

842. cheeky normal girl naked on the beach.

843. Is this creepy, Richard? Is what I'm doing at the moment creepy?

844. - Using her words... - Using her against herself, yeah?

845. - I think most people in most conversations... - Do that anyway.

846. try and say whatever they hope will please the person they're talking to.

847. It's true.

848. - Here we go, I'm gonna write... - Like if you meet somebody...

849. I'll write this bit down. "Cut the 'Is this creepy?' section."

850. - But... - It's only creepy because you acted it

851. in such a creepy way.

852. It's got nothing to do with the writing.

853. I've always thought about Kate Moss.

854. If someone's talking about, like, they like a band,

855. you go along with it just because you...

856. - 'Cause you want to sleep with them. - My excuse...

857. - 'Cause you want to... - Sorry.

858. This was the quite controversial cardigan.

859. It's not creepy, Domhnall, because you love her.

860. - That's why. - Yeah.

861. - See, and this is... - But that's what those people who...

862. - Because your motivation is entirely sincere. - I love that.

863. I love it when she agrees.

864. - So, it's like a white lie. - That's the best bit.

865. That's the way I have to think about it.

866. The people who follow celebrities and then stab them have the same excuse.

867. Right! But there's a fine line between love and stalking.

868. - It's not creepy because I love her. - But they then stab them.

869. I didn't stab her. That's the difference.

870. I got a lovely message yesterday, saying the Greek people from Universal

871. have asked whether or not they could use this scene

872. as their main clip.

873. For the selling of the movie because it's set in a Greek restaurant

874. - and has Greek music behind it. - Nice touch.

875. Really?

876. Sort of. Sort of.

877. That's sexy.

878. Is it?

879. So, in Greece, they say, "That movie's just set in that restaurant."

880. Are they... Did you say yes?

881. Yeah.

882. This was the scene you auditioned with.

883. I auditioned with about five scenes, this was one of them, yeah.

884. And there's one with you at the bed, there's another one.

885. - And then the one in the gallery. - The incest one.

886. Yeah, the incest one.

887. Not the one where you're sick.

888. We got pretty squeezed on this night, didn't we?

889. I think we ran out of time. That's the thing.

890. In terms of just remembering,

891. I seem to remember we were very short of time by the time we reached...

892. The difference was, I felt like we'd got it while we were doing it.

893. Some days, you just finish, and you think, "I don't know if that worked."

894. When you read a menu, do you think,

895. "No, I'm not reading this, unless you pay me hard cash."

896. How many prostitutes will you need to talk to before this issue is solved?

897. Are you planning to head to Eastern Europe and Thailand?

898. My face looks funny there.

899. You did get on quite well, didn't you, the two of you?

900. I'm just saying, that's not fake.

901. Yeah, I remember laughing a lot.

902. Were there any outsiders?

903. Is it time we should all say we really didn't like...

904. Don't think it's quite the moment.

905. 'Cause I'm sitting right next to you, Bill?

906. 'Cause there are two cameras there.

907. I completely...

908. - I'd completely forgotten that. - 'Cause Vanessa's here.

909. Because I'm here, I told you.

910. That's why I sat right next to you, Bill.

911. That was my favourite. Rachel ad-libbed that bit, there,

912. - which I thought was amazing. - About the brothers!

913. - About the brothers. - I know! That's my favourite line!

914. - Did she? - I missed that line.

915. So I said, "Do you have any brothers?" Testing her work on her back-story,

916. and she said, "Yes, I've got four brothers."

917. I said, "Where are they?" And she said, "They're behind you."

918. - Which I thought was fantastic. - Very good joke.

919. That's really good.

920. Do you know what? 'Cause Scarlett, my daughter,

921. just teases me so much about the fact that when it came to the wedding,

922. we forgot that Rachel had said she had three brothers.

923. So it looks as though there's been a tragic accident in America

924. in which the three brothers have died.

925. Because we forgot in the front row, my son Jake is sitting there,

926. - but where are the three brothers? - Oh, goodness!

927. - We forgot about them. - The parents, they couldn't even bother

928. - to come over? - Can I just say, I had breakfast

929. in there this morning, the one on the right.

930. Did you!

931. - In Hunky Dory Vintage? - Golborne Deli.

932. I like the cardigan.

933. You like the— But you can see it had a real character to it.

934. I can see why it would be controversial,

935. with the dress on a first date.

936. What do you think? Melissa, do you have a view?

937. - Rachel can just wear anything, can't she? - True. Yeah.

938. I'd look terrible.

939. And that is where I met Rachel for the first time,

940. almost that exact spot, remember?

941. - Did you put her in that scene? - You brought us to...

942. - Did we have dinner there? - You brought us for dinner there,

943. and the first thing you said was, "This is where you kiss each other."

944. And I said, "Hi, I'm Domhnall."

945. Can I just say, you filmed this,

946. I live on...

947. You turned up again in a slightly stalkerish...

948. I woke up in my bed, thinking, "There's some fuckers filming,

949. "and the whole thing's flood-lit."

950. This is a pain in the ass 'cause I'm trying to sleep,

951. they're going to now destroy the street by making it famous.

952. Who the hell is it?

953. Stormed out, realized it was a job I was actually in,

954. though not called that day, so I sent

955. - complaining texts. - I had one of those moments,

956. of which I am often accused,

957. that I remember getting really excited and coming home and saying,

958. "I've found the place where Rachel should live,

959. "and it's absolutely brilliant. It's this flat above the shop."

960. And Emma saying to me,

961. "You mean, where Kris Marshall lived in Love Actually?"

962. - And I went, "Oh, no!" - You forgot it.

963. "You're joking. Exactly the same house?"

964. How did you find the flat in Notting Hill, Richard?

965. Was that yours?

966. - Which one? - The blue door.

967. The blue door, yeah, but what's behind isn't it. But that was our door, yeah.

968. - Great pajamas. - They are quality pajamas, aren't they?

969. So cool 'cause they're not at all trying to be sexy.

970. No, it's just Bill. I just love the pajamas.

971. - I know. - Just pajamas.

972. I don't like the pajamas any more.

973. And, actually, in the kissing scene outside,

974. I always thought the take you should have used was the one where,

975. while we were kissing, a car went by,

976. and this teenager, leaning out the window, went, "Ew!"

977. - While we were kissing. - Really?

978. And then we started laughing, and us laughing, I think,

979. - is one of the stills from the poster. - Really?

980. It's the still from the poster. Yeah, I think so.

981. - Thanks. - Sure.

982. Should we say to people this was a set?

983. - This was the one set in the whole film, yeah. - Was it?

984. And we were quite proud of how small it was.

985. Do you know? In many movies, whenever you go back to the flat,

986. - for some reason or other... - Huge.

987. - ... people live in absolutely massive flats. - Yeah.

988. Right, no, it was really lovely.

989. So this was one of my daring directorial moments.

990. When this was the only shot we had of this scene. Do you remember?

991. I kept thinking, "Should I do some coverage?"

992. But we decided one would do.

993. Dangerous.

994. - Do you remember rehearsing this scene? - No.

995. So, because initially at the start of all the sex things,

996. it was us falling away from each other.

997. - Yeah. - And we had to try it different positions,

998. and there was a mattress in rehearsals all the way through.

999. There's a bed in the corner of rehearsals all the way through

1000. that we were always too embarrassed to use.

1001. And that Richard never quite said, "Okay, let's rehearse on the bed."

1002. For this stuff.

1003. So then it came to three days before, and they said,

1004. "Right, Richard wants you to go to his caravan."

1005. - The legs are confusing in that shot. - I know.

1006. - Your pretty leg. - Yeah, yeah.

1007. The thin ones are mine.

1008. - I was trying to work it. - So, sorry, what happened in the end?

1009. So we ended up rehearsing in your caravan,

1010. and we were on the little bed in the caravan,

1011. and I just remember Matthew coming in, the first, and you were sitting,

1012. hunched in the corner, looking at me and Rachel,

1013. - kissing on the bed. - I know, it's sick.

1014. And you said you were a guy who had to hire us

1015. to come 'round, and you could never be more than five feet from the toilets...

1016. Yes, like out of a David Lynch movie.

1017. Cast model scout.

1018. - We're late. - No, we're not.

1019. So, again, on the music front.

1020. This is a song, Waterboys song,

1021. played by the wonderful Jon Boden of Bellowhead.

1022. There at the end.

1023. But Mike Scott is my absolute hero of the Waterboys.

1024. And if there's one thing I love about the film,

1025. it's that, at last, I managed to get a Waterboys song in.

1026. And, actually, the reason you guys are called Lake

1027. in the movie is because in another movie,

1028. in a song called Beverly Penn,

1029. he says, "I wish that I'd ever loved a girl as much as..."

1030. I think it's, "Peter Lake loves Beverly Penn."

1031. - I didn't know that. - How marvelous.

1032. So this was a night, wasn't it?

1033. - Yeah. - We were there from, what,

1034. 9:00 at night, 11:00 at night, till 6:00 in the morning.

1035. - Yeah, and it was... - Changing clothes...

1036. - It was very, very funny. They were good. - ... fourteen times.

1037. - That's a great... - That's a proper costume.

1038. Good work!

1039. It made me laugh because my agent represents Spider-Man,

1040. and there was a massive Spider-Man poster, and I was dressed as a dingbat,

1041. and I took a picture of me in front of the poster and sent it to her.

1042. She was in LA for the opening of his Spider-Man movie.

1043. "Two of your clients at the top of their game."

1044. Pitiful work.

1045. - That's my list. - Can I be in Spider-Man, please?

1046. But the exhaustion of you two here is real, I think.

1047. Thank God that's over!

1048. Exactly. Let's leave at the song.

1049. - This is rather nice. - I was waiting at the stop...

1050. What station was it?

1051. Yeah, actually, this wasn't.

1052. That was real footage of you guys just leaving the set.

1053. Where's that, then?

1054. This is back on the Golborne Road.

1055. - You're dying? - No, not that bad.

1056. Another attractive pair of shorts.

1057. My parents are in town.

1058. - Just keeps getting better. - Shorts all 'round.

1059. God. Parents? American parents?

1060. - When? - Now.

1061. I like that, American.

1062. And I thought they'd cancel because they normally do and they didn't.

1063. - Now now? - Now now.

1064. So you should probably put on some pants.

1065. God. Okay, okay.

1066. - I'm sorry, I'm sorry. - Do they know I exist?

1067. Yeah. I've mentioned something like you, but nothing very specific.

1068. Now, you didn't like me doing this "What?" At all.

1069. What?

1070. When she buzzes, and I say, "Stall them."

1071. And then Emma stepped in and said that it was okay.

1072. - Do you remember that? - Really?

1073. You said, "You seemed so aggressive when you say 'What?"'

1074. You really were not a fan, and Emma saved it.

1075. Stall them.

1076. - This is all one take, right? - Yeah.

1077. - Didn't you do something... - Yeah.

1078. Why were you so aggressive?

1079. Yeah, exactly.

1080. So unnecessary.

1081. Honestly!

1082. If there's one false note in the movie...

1083. It's Emma's fault. Emma's right outside, we should talk to her.

1084. So weird.

1085. How did you think that was gonna come up?

1086. I was worried about your fly.

1087. This is interesting, given the decision...

1088. And Rachel caught very close to... It caught in my boxers one time

1089. when she was doing up my zip.

1090. That's a little-known film fact.

1091. - Okay. Ready? - Yeah.

1092. - They're there. - They are, yeah.

1093. - Yeah, right behind you. - Okay. Right, okay.

1094. - Dad! - Hello, sweet.

1095. - Mom. Hi. - Hi, honey.

1096. They were great.

1097. They were great.

1098. That's Lisa Eichhorn, who was so wonderful in Yanks.

1099. - Yeah, I know it. - No, but also in the film

1100. - with Jeff Bridges. - Yes!

1101. She's absolutely amazing in it.

1102. Really? With you?

1103. Yes. Yeah, but no oral sex, I promise you.

1104. I beg your pardon?

1105. Excuse me.

1106. So, Tim, tell us where are you from, which part of the country?

1107. And we did different versions of that.

1108. That was one where he went back and had the conversation a couple different times.

1109. I'm really amused by the idea.

1110. One day, I want to take an actor with a long career,

1111. and edit together every time they open a door and say, "Mum, Dad..."

1112. Because Rachel must've said that...

1113. And then you would cut to, "My dad's dead, unfortunately.

1114. "My dad's in hospital," and "Dad, how are you?"

1115. "I haven't got a dad, I never had a dad!"

1116. "Dad, can you hear me?"

1117. Yeah.

1118. The number of times you actors must have

1119. to pretend that someone's either your child or your parent over a long career.

1120. Sorry. Tim. Over to you.

1121. Shoot.

1122. - Yeah, I think my dad... - Can I just say one more thing?

1123. - Perfect comic timing, by the way, on that. - Yeah, really.

1124. Now this is your favourite line in the movie, you texted me when you saw the movie

1125. - about this. - This is one of my favourite lines, yeah.

1126. I'm just gonna sleep all day.

1127. Not that one.

1128. Many of the best sleeps of my life have happened

1129. in the Royal Shakespeare Company.

1130. - That's very, very wrong. - Is that from Emma?

1131. Theatre really gets it in this film, doesn't it?

1132. I don't know why, either.

1133. Have you done the RSC, Tom, as some of your finest work?

1134. - No. No. - No, Tom's not an artist.

1135. We were at the grammar school.

1136. The National Theatre of Great Britain in Northern Ireland.

1137. - Josh! - He was...

1138. That is the National Theatre.

1139. There. Under the "exit" sign.

1140. - The old woman? - No, not the old woman.

1141. The astonishing blonde.

1142. - The one with the dark hair? - No, blonde.

1143. Blonde means blonde hair, doesn't it?

1144. Off the stage.

1145. Okay, you stay there. I mean it, stay!

1146. And that's Catherine, as well, as her friend. Isn't it?

1147. She was fantastic.

1148. - Yeah. - Who is this, now?

1149. The lady singing?

1150. Is it Barbar?

1151. She's wonderful.

1152. She did two songs for us.

1153. No, Catherine's performance is really good, isn't it?

1154. - Stunning. - And it does show.

1155. I learned from Mike Newell that the most important thing, almost,

1156. about movies is when you're casting these sort of roles,

1157. if you get them perfect, the movie will be just twice as good.

1158. She's so touchy.

1159. That is so brilliant. Well, hello, Tina.

1160. You can tell just from the beginning that...

1161. - She's not happy about the situation. - No.

1162. When I auditioned, I auditioned with her.

1163. And she played the sister,

1164. and she was amazing at both those parts, as well.

1165. She's obviously just fantastic all around.

1166. I can be a confident heterosexual all over again.

1167. Not that kind of girlfriend.

1168. What?

1169. You think I'm gay?

1170. No.

1171. That's a very good look, Domhnall.

1172. Shaking head. That's, like, a sick look.

1173. It is, isn't it?

1174. Don't use that one again.

1175. Yeah, yeah.

1176. Check that look, 'cause that's deep shame.

1177. Deep shame.

1178. That'll do for many, many movies.

1179. Just trot it out.

1180. You could have a little showreel, "Things I can do,"

1181. and that look will be in there.

1182. - Number one. - Start with that and finish with that.

1183. And I think you made up, didn't you make up the jazz hands here?

1184. I did, yeah, just the joke.

1185. There are still quite a lot of us old fashioned types about

1186. who interpret "girlfriend" as meaning "gay."

1187. So if you say that Tina's your girlfriend, people will assume that you're "gay."

1188. I am "gay."

1189. Are you?

1190. Do you have a problem with that?

1191. No, I don't. I love that stuff.

1192. I'm just gonna...

1193. Wow.

1194. Okay, little boy looking straight into the camera here.

1195. - He's super cute. - Sweet.

1196. There we go.

1197. Best let sleeping dogs lie. Come on.

1198. Best night of my life. I always love this area.

1199. It's so bustling and I mean those pictures.

1200. My friend Paul visited us on set that day.

1201. We had this astonishing girl here called Girl on Bicycle.

1202. There's a girl standing by a tree there,

1203. and we said, "If you stand by that tree with the bicycle,

1204. "you are going to have to stay here for six hours."

1205. - And she stayed? - She said, "Yeah."

1206. - Wow. - Have we seen her yet?

1207. No, I think you're gonna see her in a second.

1208. And she stood there for the entire time. You'll see her in a moment.

1209. But it would be great to hang out sometime.

1210. - Yeah, sure. I'd love that. - Send my love to little Kit Kat. How is she?

1211. - Josh is brilliant in this. - Yeah.

1212. - Look at... He's just so... - He's so mesmerized.

1213. Really? Since when?

1214. You knew there was always something there.

1215. Sorry, you are?

1216. - Very well, thank you. - She means your name.

1217. - Roger. - No, it's not.

1218. No, it's not. It's Rory.

1219. - Amazing. - Brilliant.

1220. Right. Sorry, we should get going.

1221. It was really great to see you.

1222. - I'll see you soon. - You, too. Yeah.

1223. Bye.

1224. God, she is beautiful.

1225. Where's the girl with the bike, Richard?

1226. She's coming, just wait, we're just about to...

1227. - There she is. - There she is.

1228. There she is. She was just there all night.

1229. And I don't know that she ever changed expression.

1230. I told Tina to go have dinner on her own. Are you hungry?

1231. - Yeah. Of course. - Great.

1232. It would be funny to me if Josh now walked over to the girl

1233. by the bicycle and said, "Hey."

1234. - Thanks again for the play. Triumph. - Where do you wanna go?

1235. She would... There she is. She's in every shot.

1236. "Do you want to get dinner?"

1237. She's got massive points in the movie.

1238. Is that Yauatcha?

1239. Which restaurant is this?

1240. - It's not Yauatcha. - It's Ping Pong, I think.

1241. Just around the corner.

1242. Yeah, just around the corner.

1243. You know,

1244. I'm starting to think we slightly wasted that summer holiday.

1245. This was her last day on set, wasn't it?

1246. 'Cause you gave her her a present at the end of this scene.

1247. She is really... Did she give you fudge in Cornwall?

1248. - Yeah. - Goodbye.

1249. I'm just staying round the corner.

1250. Can you walk me home?

1251. Yeah.

1252. I did some fancy directing here, because this was the day she broke the news

1253. she would be working with Scorsese next.

1254. So suddenly, I tried to do some other...

1255. - A lot of tracking shots... - Yeah.

1256. Just look at, just look at this.

1257. That's all Scorsese.

1258. Look, jump-cutting.

1259. - Taxi Driver. - You can see Taxi Driver here.

1260. There's a freeze-frame coming up, isn't there?

1261. You put on weight for this shot, didn't you?

1262. I did put on a hell of a lot of weight.

1263. I think you're gonna see an extraordinary action sequence

1264. just coming up here.

1265. - Really? - Lot of running.

1266. Lot of running.

1267. Lot of character running.

1268. It's not as easy to do as you think.

1269. - No, no, I... - 'Cause it's quicker than walking.

1270. - Yeah. - That's true.

1271. But slower than driving.

1272. Can't handle joy.

1273. get back.

1274. You'll see there's enormous Scorsese influence in this next sequence.

1275. Look. Listen.

1276. I was feeling my tummy there because I had put on so much weight.

1277. - Look at that. Look at that! - Here we go. Full slice.

1278. - Look. Jump cut. Wide shot. - Look at that.

1279. - Rabbit running. - Rabbit run.

1280. You asked me to run like Tom Cruise up the stairs, and I did,

1281. and you said, "Please don't do that ever again."

1282. - This bit here. - That was pretty... I don't know.

1283. Yeah!

1284. That's more like a heron, isn't it, in flight?

1285. This scene changed a lot with Richard, remember?

1286. Yeah.

1287. No. I can't remember what,

1288. - but there was a real issue about the scene. - There's loads of stuff.

1289. Again, in the caravan, I feel, on the night before.

1290. - We had different versions. - We came into the bedroom, we stayed in.

1291. We stayed in for hours that night.

1292. I can't remember what the problem was, but there was a problem.

1293. Because we wanted to have it be intimate, and I wanted to say, "Will you marry me?"

1294. And you didn't...

1295. Basically, because he was meant to go back in time.

1296. And she was gonna see the band.

1297. And you didn't want her to see the band,

1298. the whole thing ended up getting jigged around.

1299. Right.

1300. Well, I think it turned out very well.

1301. And I think it benefited from the last minute alteration.

1302. Yeah, it's beautiful.

1303. I think I'd written it slightly over-fancy, too.

1304. I think you might've simplified it.

1305. I was having the loveliest dream.

1306. What is it?

1307. Why is there music on?

1308. It's got something to do with what I want to ask you.

1309. Wait a minute.

1310. Romantic music.

1311. Then Rachel wrote to me when she saw the trailer for the first time.

1312. Saying, "I just do want to say, and I'm slightly worried,

1313. "that there was a shot

1314. "that was exactly the same in The Time Traveler's Wife.

1315. "And I just want you to know that before you go out, and then

1316. "people say, 'Wait a minute, isn't that shot from The Time Traveler's Wife?'"

1317. I think there is also, and I haven't seen it for a long time,

1318. but I suspect there is also a bedside proposal.

1319. Did you keep it the same, the trailer?

1320. Yeah, I think on the whole it would've only worried her.

1321. Yeah.

1322. Any thoughts on the answer?

1323. "Yes?"No?"Get out of my life, loser."

1324. See, that's very Scorsese, that blurry...

1325. - Yeah. - That blurry bit at the front.

1326. You don't know what it is. It could be a hat.

1327. Or some kind of something.

1328. The way I'm acting is also very similar to the way Martin Scorsese acts.

1329. Those two things together.

1330. The way he acts or the way his actors act?

1331. No, the way he acts.

1332. And thank you for not going for one of those melodramatic proposals

1333. with lots of people around.

1334. I hate other people.

1335. Slightly a condemnation of all my work.

1336. I'm sure I've written one or two

1337. proposals with lots of people around.

1338. You've lied to her again, there, you see...

1339. - I have. - You're still not a bad person.

1340. - I've started our engagement with a lie. - This is my favourite joke in the film.

1341. And Josh...

1342. But we really appreciate it. Can you go?

1343. - This is the bit where... - Not happy.

1344. he wrote Kit Kat into this and then we wrote her out.

1345. - Oh no, were you in there? - Do you remember?

1346. - That bit. - Yeah!

1347. I was like, "But she doesn't know they're engaged."

1348. You turned up on the day! You came in the car.

1349. Yeah, and I talked myself out of the scene which was really stupid.

1350. I should've kept my mouth shut.

1351. 'Cause here she doesn't know that they're engaged.

1352. Mum, this is Mary.

1353. - Mary! - Hi.

1354. - Good Lord, you're pretty. - No, it's just

1355. I've got a lot of mascara and lipstick on.

1356. Let's have a look.

1357. Yes. Good.

1358. It's very bad for a girl to be too pretty.

1359. It stops her developing a sense of humor. Or a personality.

1360. Lindsay is pretty wonderful in every scene, isn't she?

1361. Lindsay is marvelous, yeah.

1362. I remember finding it quite hard, what to say between takes.

1363. Just do it in different...

1364. - We'll do it again. - Yeah! We'll do it again.

1365. So that people can be better.

1366. The back of Domhnall's head is looking a bit out of character.

1367. I...

1368. I think you said that she was the only person who

1369. didn't have any lines cut in the final film.

1370. Every line you wrote for her is in the film.

1371. 'Cause sometimes we didn't even do coverage of the other side,

1372. on that scene where she comes and says, "I'm furious about..."

1373. And, of course, I have...

1374. Another good jumper.

1375. Yeah, as we were hinting,

1376. it was a complicated day on the beach because there were lots of nudists.

1377. 'Cause the reason we chose it was because there was no access.

1378. I'm so good without the ball.

1379. Yeah, this is where we're going to do the CGI.

1380. - In comes the ball. - Against the wall, like Forrest Gump.

1381. Look, I'd forgotten this. Jimmy Fontana Il Mondo.

1382. Greatest record ever recorded by an Italian

1383. who looks like he's got a dead badger on his head.

1384. - And you've got the album. - Yes!

1385. Is that you, that photograph, Domhnall?

1386. - Yeah. - Yes.

1387. That's not me, no.

1388. - It's me, in a girl's bathing suit. - Oh, it's you.

1389. It would be really weird if it was you.

1390. Something's there, rather behind you. A picture of Nic Cage!

1391. - My God! Why is he there? - Oh, yeah.

1392. - He's always popping up. - And there's a rabbit behind.

1393. That's what we based his running on.

1394. I think...

1395. - I'm really sorry I said rabbit. - I'll admit that it could've been much worse.

1396. - There he is, Nic Cage. - A portrait as well.

1397. As opposed to...

1398. This is the most wonderful piece of acting.

1399. - It's weird that there's a portrait. - Don't blush.

1400. - Lydia, but you are so wonderful in this one. - Yeah, amazing.

1401. Couple of weeks.

1402. Gosh! So, life in London...

1403. Horrid.

1404. Okay.

1405. Is Mary here?

1406. Yes.

1407. That's sort of the only clue we've got about what's gonna go wrong

1408. and yet it's so definitive.

1409. - Look at that action sequence! - Yeah.

1410. Stunts.

1411. - Was that in the trailer? - No.

1412. Right, sorry. Sorry.

1413. This was a brilliant day. I really enjoyed that day.

1414. Exciting.

1415. - Apple crumble, wasn't it? - Yes, it was.

1416. I liked the fact that Lindsay already slightly disapproved, like a little bit worried.

1417. Like over at Bill, "I think he's going to..."

1418. - At me? I see. Yes. - Yeah.

1419. To Mary. Over there.

1420. Thank God for that.

1421. We did this over two days as well.

1422. - Didn't we, Richard? - Did we?

1423. You said we all emailed you separately after the first day being, "I'm really worried."

1424. That's right. And the next day.

1425. - Why? - I don't know. We all had a neurosis about it.

1426. We didn't go wide or something. Yes.

1427. Because we're having a baby, too.

1428. - You're pregnant? - Yes.

1429. Who's the father?

1430. Well, Tim, I hope.

1431. Thank God for that. Jolly awkward if it had been another fellow.

1432. This was one of those moments where when we edited the movie, we tested it.

1433. And Richard, the first bit joke there, Richard got so many laughs.

1434. We'd cut the second joke, and then we put the second joke back in.

1435. of some Italian weirdo singing a song called Il Mondo.

1436. - Excellent song. - To which I've said a definitive "no."

1437. So here's the deal.

1438. This was a hard day.

1439. I was going to say the scene previous was a great day on set.

1440. - This was just... Yeah. - Tough.

1441. You have my attention, young lady.

1442. Right,

1443. where would you like to get married?

1444. Should we talk about the lovely Quentin Blake drawing?

1445. - There. Look, that lovely thing from Matilda. - It's Matilda.

1446. Who should the priest be?

1447. It'll have to be the local bloke with yellow teeth and the massive unibrow.

1448. Okay.

1449. That's a lock for Hagrid.

1450. She was so brilliant this day, Rachel, honestly.

1451. She was so unabashed and unworried.

1452. She did have to take off her clothes

1453. between 50 and 60 times, didn't she?

1454. - Yeah. - Just fantastic.

1455. - Jay. - It's your choice.

1456. He's my best friend, but he's a moron.

1457. - What's the drum in the background? - Yeah.

1458. - Tim's. - That's Tim's drum. Yeah, yeah.

1459. - Yeah. - He uses it for a mating call.

1460. - We had discussions about the tattoo. Yeah. - A tattoo. Interesting.

1461. That's nice.

1462. We had discussion. "Is it in character, out of character?" And we left it.

1463. Take off your pants.

1464. - I will not. - Take off your pants!

1465. - I want two weeks in Bali! - Take off those pants!

1466. "Two weeks in Bali."

1467. I do like, "I'm not taking my pants off for Scotland."

1468. - And, Lydo. - What?

1469. What is your face about?

1470. - What, just then? - Yes.

1471. You're like, "I'm bored waiting for them" or something.

1472. - Disinterested. - Your legs are missed on this day.

1473. - I was completely... It's amazing. - Are you kidding?

1474. - This is the actual local priest. - The yellow dress. You look gorgeous.

1475. These girls are cute.

1476. The story of this song is that,

1477. when I was a little boy I went on a holiday to Elba.

1478. And every day we used to go into the city town square

1479. and there was a jukebox and this song was number one in Italy.

1480. And we used to order 11 sorbet

1481. and put on Il Mondo.

1482. And I bought three copies of it.

1483. I always wanted it in something I did.

1484. I actually did a sitcom for the BBC called Yes Minestroni

1485. just in order to have this as the theme tune.

1486. I worked and worked, and finally got it in.

1487. I got a letter the other day saying that Jimmy Fontana died a week ago,

1488. and did I want to do a quotation for his obituary.

1489. Yes!

1490. So, guys, your memory of the wind, and the rain.

1491. Well...

1492. - Had fun? - I just remember my hair.

1493. I was just so worried about my hair.

1494. My boob fell out of my dress.

1495. - Really? - Yeah.

1496. And I wasn't there.

1497. It's really hard to navigate that hill in heels. We had to do it about a million times.

1498. I was just glad I wasn't in the marquee.

1499. Yes, me, too.

1500. - We got away scot-free there. - I'm so jealous of you.

1501. We did.

1502. - Tom was very good in the... - Yeah.

1503. Action hero in that.

1504. - Yeah. - Yeah.

1505. That was one of those classic scenes, Tom, where we did it...

1506. - Eight times. - ... at length, didn't we?

1507. - We did a minute-long version. - That's true.

1508. And then we said it's not really gonna be a minute in the film.

1509. - Also, in this bit, I remember, Tom and I... - Yes, we had fun.

1510. We were right in the corner.

1511. We were like, "Yes, we've got off getting wet. Richard's not gonna notice."

1512. And then he went, "Right. Tom and Vanessa, can you come here?"

1513. And we were like, "No. What? Why? Now?"

1514. It's like right underneath.

1515. And Charlie was there too, was he? No.

1516. No, he wasn't. No. 'Cause he couldn't have been, 'cause he would have been...

1517. That wouldn't make any sense.

1518. This is my favourite shot in the film.

1519. This is a great shot.

1520. - Josh so heroic. - This is awesome.

1521. That's a great shot.

1522. That is my... What's his name? Sergio Leone shot.

1523. That is your audition for The Man Who Will Not Forgive.

1524. Fifty frames a second, yeah.

1525. Machete Kills 2.

1526. Are you going to put in Tom's full length best man's speech on the DVD?

1527. He's like, "Yeah."

1528. I think it was too frightening even for...

1529. It was pretty... It was so dark.

1530. The movie's at twelve hours...

1531. It was amazing to Mary...

1532. Tom, do you want to say anything about your long speech?

1533. No.

1534. - It was brilliant. - It was fun.

1535. You were very, very sweet to let me do it and waste all that time.

1536. - Yeah, it was so great. - It is.

1537. I did enjoy it.

1538. It was all about you, kind of, wanting to have sex with Mary

1539. and how other people probably had had sex with her.

1540. And that in the future they'd probably break up

1541. and maybe you would get to have sex with her.

1542. That was the gist of it, right?

1543. "I don't write for free, you know."

1544. These were the girls available to him at that time.

1545. - There is Scarlett. - That's my daughter.

1546. - She's the eight. - Number eight.

1547. - She's an eight. Yeah, exactly. - Oh, no.

1548. 8, full penetrative...

1549. and so a toast

1550. to the man with the worst haircut but the best bride in the room.

1551. Tom, look at you there.

1552. You're incredibly unhappy.

1553. I remember, Emma and I kept trying to drive through

1554. Rupert coming to the wedding with Joanna, because they'd met at that party.

1555. - Yes. - Do you remember? We had a campaign.

1556. This is my friend's band in the background here.

1557. - No way. - Yeah. Delorentos. They're excellent.

1558. - Did you recommend them? - I gave Richard their album

1559. and they very kindly put in a Delorentos song.

1560. - Awesome. - Yeah.

1561. - Delorentos. - Yeah.

1562. later on I may tell you about

1563. Tim's many failings as a man and as a table tennis player.

1564. Bill, you're very good at acting in this bit.

1565. Yes. I remember being quite emotional.

1566. - Very moving. - Every single time.

1567. He had to do it so many times, and every single time, Rachel cried.

1568. This was actually said to me by a very good friend of mine

1569. when I was having dinner with them, older than me.

1570. He'd had a complicated first marriage.

1571. I just remember him saying that, "I've learned from my years

1572. "that the most important thing in life was to marry someone kind."

1573. Yeah.

1574. We're all quite similar in the end.

1575. I find that most of the best things you write

1576. are things that other people said to you at some point.

1577. But try and marry someone

1578. kind.

1579. And this is a kind man

1580. with a good heart.

1581. I'm not particularly proud

1582. of many things in my life, but I am very proud

1583. to be the father of my son.

1584. - Beautifully done. - Beautifully done, Bill.

1585. Thank you.

1586. No.

1587. I love this.

1588. I'm at a wedding, for God's sake. I'm here to celebrate true love not

1589. scribble my illegible signature on stupid bits of paper that you can flog on eBay

1590. so that at the next wedding you can wear a less hideous hat.

1591. It's such a long sentence. It just keeps getting worse.

1592. If you bump into that actual woman, will you feel bad, Tom?

1593. 'Cause you looked at her with such scorn.

1594. No. Because wasn't there another bit where we then started to get off with each other?

1595. - Isn't there? - No!

1596. I think there was a dance later on.

1597. - There was a dance and the wheel turned. - Yeah. Then it turned from... Yeah.

1598. "Gosh, he's so..." I mean, it turned into flirtation, didn't it?

1599. Sure it did.

1600. Great bit by... I left Tom alone to deal with the girl.

1601. - I said, "You just flirt with her..." - For two seconds.

1602. "... and we'll film whatever happens." And he did that so brilliantly.

1603. Was that what happened. I thought...

1604. He's always feeding girls something, isn't he?

1605. Cake or alcohol.

1606. See, that's Will and I dancing in the background there.

1607. This scene. I think the thing about Rachel

1608. is this extraordinary ability to embody a mood and an emotion

1609. almost despite the lines.

1610. I just think that

1611. that absolute feeling of contentment and settlement is so extraordinary in this.

1612. Good face.

1613. - Massive cut there, by the way. - Yeah. Use that one.

1614. - Do I take that one again? Thanks, Bill. - Yeah.

1615. - Would you make a note, Richard. - Yeah.

1616. And these were real tiny babies, weren't they?

1617. - Oh, my God, it was amazing. - They were absolutely...

1618. All the ones here, they were the real mums with their real little children.

1619. - That was the ward... - Full of them.

1620. Sizzling little patties of baby...

1621. - And there's Posy there. Is that right? - There were like 20 in that room.

1622. - That's right. - Amazing.

1623. Yes. And there was a whole section where she got pregnant

1624. and then the going to the hospital...

1625. That's all on the DVD extras elsewhere.

1626. Yeah, all of these little kids, all of these mums with their real kids.

1627. It was amazing.

1628. I remember the first time I saw you,

1629. I thanked God we were in driving distance of London Zoo.

1630. Yeah.

1631. - Are we sure... - Yeah, she definitely will bounce.

1632. And when we filmed this, remember, Richard actually did drop the baby three times. Yeah.

1633. Sweetheart.

1634. No one can prepare you for the love people you love can feel for them.

1635. And nothing can prepare you for

1636. the indifference of friends who don't have babies.

1637. We had an argument about flightless birds right there.

1638. It's great.

1639. That really makes me laugh.

1640. Will doing that, "I want nothing to do with that child."

1641. That's Veronica.

1642. She used to make us feel really self-conscious about our acting,

1643. 'cause every time you finished a scene

1644. you'd look over at her and she'd just look back at you like this...

1645. She was just totally unimpressed with what we were doing.

1646. - More pink balloons. - Yeah.

1647. - She'd never eaten sugar... - Her first day eating sugar, that's right.

1648. Just for trivia facts, this is my first day.

1649. - Yes, I remember that. - It was?

1650. Not that it has any meaning. Nice of you to...

1651. Had you got the character? Will we notice that the character's not quite there?

1652. - Possibly you'll see a few cracks... - The sunglasses are a brilliant touch.

1653. To a children's birthday party!

1654. I was jealous of Tom 'cause he had shades on.

1655. And I was off sugar.

1656. I was told there would be free booze.

1657. - And there was a lot of cake. - Yeah.

1658. I remember you and Rachel talking for hours on end.

1659. We talked for a long time about sugar, yeah.

1660. And you know we got purple cupcakes for her especially.

1661. - Here she is! - Speak of the devil, that will be her.

1662. Yeah, I think your character slips a bit there, Bill, if you'd just...

1663. No. I'm sorry about that.

1664. I'd been on another movie...

1665. He was still in another frame of mind.

1666. Your hair looks great, Tom.

1667. What does that mean?

1668. We had an argument this morning. Over nothing, but...

1669. This is Scorsese, definitely.

1670. You don't need to see people's lips, you can just...

1671. - No. - No.

1672. Or the top of the head, or...

1673. He says worrying about the future...

1674. Things don't need to be in focus either.

1675. Must be one of the few films where there is a song reference to another director within it,

1676. - I would think. - I was actually very fascinated by that.

1677. A lyric reference, too.

1678. It's very post-modern, or whatever.

1679. Lyds, did you do that with your driving?

1680. It was an outtake.

1681. We had to add in all of this stuff, because...

1682. - That was never gonna be in the movie. - 'Cause I died halfway through in Cornwall.

1683. What if she really went off the rails? Maybe we get to...

1684. - How is she? - Not good.

1685. When did she leave you? From where? I want it exact. Exact time. Exact address.

1686. It is a proper time-travel movie, isn't it? I mean it's not just, you know what I mean?

1687. - Yeah, we tried to. - I love the whole.

1688. Here we are. Sorry, sorry.

1689. Come on.

1690. Harold and the Purple Crayon, it's the best children's book.

1691. - Is that origami? - Yeah.

1692. I said, "JP, can you make an origami bird?" And they made this.

1693. Three of them made this enormous purple... Can you believe it? Look at that!

1694. Look how happy she is.

1695. - I thought she was gonna drive herself. - Turns out she couldn't.

1696. - She okay? - Later.

1697. I'm worried about Kit Kat.

1698. That is my favourite jumper in the film.

1699. - What do you think? - I think it's a great jumper.

1700. - And I can find you... - Can you?

1701. I can get you that jumper.

1702. - I think you lost those jumpers. - You look skeptical about the jumper.

1703. I haven't tuned in to the jumper fetish. What's so special about it?

1704. Well, it's just sort of got a lovely chocolaty-feel.

1705. I feel as though it would go down well with girls 'cause they'd be reminded of chocolate.

1706. Yeah, they think, "I like him because his jumper looks a bit like some chocolate."

1707. You're accessing this on the right level actually.

1708. Yeah. That's a good point.

1709. This was like a warm day.

1710. - What was the name of the place we were in? - Favourite scene in the film, this.

1711. What was the name of the place we were in? Porth...

1712. - Porthpean. - Oh, yes.

1713. I'm the faller.

1714. Every family has, like, someone who falls,

1715. who doesn't make the grade, who stumbles.

1716. This is brilliant.

1717. Maybe I'm our faller.

1718. No.

1719. - Nice coat. - So sweet that you smiled.

1720. My brother's wife turned to me, she said that's how she felt, she was the faller.

1721. Yeah. I've heard a couple people say that. But it's such a sad thought.

1722. - Yeah. - You're sitting very well, Lydia.

1723. Because she's been told to sit up. I said, "Stop slouching!" That was my directing.

1724. "Stop slouching. For heaven's sake.

1725. "It's no good for a young actress to slouch at this stage in her career.

1726. "If you're Flora Robson you can slouch.

1727. "Maggie Smith's allowed to slouch. She's got no alternative. But you can't."

1728. Cannot be a sloucher.

1729. - You sit like a dancer. - Yes, you do.

1730. - People think I'm going to kiss you there. - Yeah, right.

1731. - Sexy. - Incest.

1732. Do you remember you insisted on doing nine nevers there?

1733. - Yes, I did nine nevers just for one take. - "Never, never, never..."

1734. - It was very good. - "... never, never, never..."

1735. - This was the last day of filming. Wasn't it? - Yeah! It was in Queen's Park.

1736. - The primary school. - They are in the tiny little cupboard.

1737. Oh, my God! Oh, my God!

1738. Oh, my arsing God in a box.

1739. You're kidding?

1740. I think Molly, who works in our office,

1741. actually has more screen time, certainly than you, Vanessa.

1742. 100% than me. I wonder why she's not here.

1743. If people count every time she's in there,

1744. anyone opens a door or is having a conversation,

1745. Moll's talking to Richard Cordery.

1746. - She's right in the background. - There she is.

1747. She's very funny. I like Molly. Where's Molly?

1748. She's wonderful.

1749. - She's on holiday. - Is she?

1750. - Yeah. - Rightly so.

1751. Who's the pretty looking girl? It's Jennifer, isn't it?

1752. - Yeah. - Wild!

1753. I like your skirt, Jennifer.

1754. - You feel like Tom's done this before. - I know. Yeah.

1755. - Right there. - No, he's a lovely boy.

1756. Nip it in the bud, eh?

1757. - He's very loyal. - Okay, here we go.

1758. This is Lydia's audition for action movies. You can do this, too.

1759. Yeah, you do.

1760. Very well. Sorry.

1761. And this is what I should have done right at the start.

1762. Come on.

1763. - Come on! Come on! - Beautiful.

1764. - I'm well into the kick. - The kick, the kick.

1765. What's that? That's like Conan the Barbarian, you did.

1766. That was a bad one, where you say, "Hi, Jakey,"

1767. forgetting that actually my son was playing a completely different character.

1768. You used his real name.

1769. He was called Reginald.

1770. We were just filming with Rooney Mara in Rio de Janeiro,

1771. and quite a lot of times, in the takes,

1772. the young boys, the Brazilian boys, refer to her character as Rooney.

1773. - In all the takes, 'cause they can't... - Yeah.

1774. Oh, my God.

1775. - What? - Jay.

1776. So, this little piece of music coming up is Arvo Pärt.

1777. I remember I was playing a tape that Nick, who did the music,

1778. sent me of songs he thought might be relevant.

1779. I remember hearing this for the first time,

1780. and thinking it does sound like life just going along.

1781. I love this bit.

1782. Did I ever tell you we used this Arvo Pärt bit in a documentary we made in college

1783. about my aunt who has a dog who's crazy.

1784. And so she was talking about her dog.

1785. - With this music in the background? - With this music.

1786. Talking about how he wouldn't go out a door, he'd only go out a window.

1787. He is a bit strange.

1788. This bit of music is, everyone knows this, do they?

1789. It's a palindrome. It's a musical palindrome, this Arvo Pärt thing.

1790. - What does that mean? - As in like a number, one, two, two, one.

1791. - It's exactly if you play it in reverse. - No!

1792. I believe they call it a retrograde.

1793. Well, there's clearly something extraordinary about it.

1794. They've torn them to shreds, haven't they?

1795. Wasn't Kit Kat and Jay getting together quite a late idea, wasn't it?

1796. - Yeah. I think it was. - I remember.

1797. - First day filming. - Yeah.

1798. - Was it? - The train was the first day.

1799. - Completely out of character. - You can see it, can't you?

1800. He's playing one of the Weasley brothers in that scene, you can tell.

1801. - He's gone completely. - Only for the right one.

1802. He's got a big magical jumper.

1803. I'm playing Ron.

1804. Looks like you've been in the theater, haven't you? You can tell.

1805. I can't think of anything I'd love to do more.

1806. Now, this is my experiment in horror.

1807. I'm hoping to get the job of directing The Shining 2. Watch this.

1808. Horror. He's too cute.

1809. - Didn't he fall into the toilet that day? - He wandered into the toilet.

1810. Wandered into the toilet.

1811. - What was his name? - That's a screamer.

1812. - Do we remember his name? - Such a sweet little boy.

1813. You just

1814. wait there and I'll be back in a minute.

1815. Oh, my God!

1816. Look. He was the smiler. Out of all the children we had, he was the happiest.

1817. Which was a pity, 'cause then I have to go back in time and make him not occur.

1818. - No. - That's so cute.

1819. I think amongst things not to think about when you see this film,

1820. the fate of that child is one of the things probably best not to reflect upon.

1821. - Brutally thrust out of eternity. - Better off without it.

1822. but the exact sperm at the exact moment got you this

1823. particular baby,

1824. so if you do anything the tiniest bit different...

1825. Do you remember, this was not a quiet hospital.

1826. No.

1827. It was lovely though, they had all the clatter and smash of a working hospital.

1828. And a nurse would come through doing some real work and say, "So sorry."

1829. Just feel so guilty.

1830. You should feel terrible helping all these people.

1831. Lydia, Lydia, Lydia.

1832. Lydia, that's what happens if you do learn to drive.

1833. - That's just a warning. - Got it. I won't learn to drive.

1834. The stunt woman said it's braver to say lines on camera than to crash cars. I disagree.

1835. Yeah.

1836. Well, you could do both with ease.

1837. - In a way. - This is like, one standard audition, Lyd.

1838. I remember looking at your face here and thinking, "Have we got it right?"

1839. That's one of the curious moments, isn't it? When you have to judge levels of violence.

1840. I think it was complicated when we decided how ill you were going to look.

1841. Do you remember? We actually had to shunt things around.

1842. It's always weird 'cause you tend to be slightly thrown the first time.

1843. And then you get the make-up department to pull back

1844. and then you realize you pulled back far too much.

1845. And then you go normally back to where they say in the first place.

1846. For good.

1847. And

1848. I have to stop drinking.

1849. And stop leaving jobs.

1850. It's like vampires had a little go at you during the night.

1851. "Can do vampire films." Yeah?

1852. Nice and boring.

1853. Yay.

1854. And, you know, nice isn't necessarily boring.

1855. Like who?

1856. Matt Damon?

1857. - He's about the only person... - Who's nice and not boring.

1858. - Yeah. I mean, I can't think of anyone else. - You're right. I can't think of a single...

1859. Don't. There must be someone.

1860. Dominic West, didn't we mention him earlier?

1861. - I heard a fantastic Dominic West story... - No, because someone would either say,

1862. "He's not nice. "Or "He is boring."

1863. - Don't give the conundrum. - There's no way out of that.

1864. You're wrong on two counts, Richard.

1865. I just remember this was a longer scene,

1866. and there were lots of jokes about Matt Damon's brothers.

1867. They said, "Matt Damon's married. Why don't you marry Pat Damon or Nat Damon?"

1868. - Joanna. - Thank Christ.

1869. - Do you remember how much Veronica was... - Nice try.

1870. Do we think the fact that the baby was crying in this scene

1871. was the director's original intention?

1872. "Hey, I'm happy to see you. I'm happy to see you.

1873. - "What the hell is going on?" - "I want to stop acting."

1874. - What has Auntie Joanna been... - Yeah.

1875. Where is the nice girl?

1876. The baby's fantastic in this one.

1877. Screw that. No.

1878. That hurt and I got fat. Like fat-fat.

1879. Got a little bit fat, didn't she.

1880. Tell Mummy you want a sister.

1881. No. Tell Daddy you're happy being an only child.

1882. Fortunately we are young and careless and it wasn't long before there were four of us.

1883. And this is incredible. Posy Lake, only 3 years old,

1884. is about to break the women's 10 meter Olympic record.

1885. They're gonna do it. And here they are, they've done it!

1886. She's a lovely little girl.

1887. - Olivia. - Is it?

1888. The kids were wonderful in the end, weren't they actually?

1889. I mean, it's very complicated... We used every orange-haired child,

1890. registered child in the United Kingdom, I think.

1891. They're all my children.

1892. Okay. How about this?

1893. That's gorgeous. Job done. Yeah.

1894. - One of the very few days with two cameras. - Yeah.

1895. I don't know. No, I hate it.

1896. - Yeah. - It's boring and

1897. makes me look kind of lumpy.

1898. No, you're right. It is boring and lumpy. I hate it.

1899. This was a great afternoon actually, wasn't it?

1900. - 'Cause it had to go quick. - Yeah.

1901. There were so many dresses to get through that...

1902. And it was great. 'Cause the first time I saw the dresses

1903. was when she came into the room.

1904. We figured it out that I had never seen them before.

1905. I look like a prostitute.

1906. - Not high heels, then. - But then we have the short legs problem.

1907. Well, do you want to look like a prostitute or a dwarf?

1908. - I feel you made up that line, too. - I did make up that line. Yes.

1909. Yes? Damn.

1910. Yes!

1911. Now, this one I don't feel was a realistic dress.

1912. We might have pushed ourselves a bit on this one.

1913. Which one? That one?

1914. Sometimes women do those.

1915. Do they? Do they? Have you got a couple? Is that straight out of your wardrobe?

1916. - You lose some... - Just horrid.

1917. And sometimes you go into experimental stores

1918. and then feel terrorized by the people into...

1919. You don't want to hurt their feelings, and they're only selling one dress a year,

1920. - and you think, "I'll go for the one that..." - Yeah.

1921. Stuff happens in your head.

1922. Yeah, it's fabulous.

1923. - Really? - Yeah.

1924. Okay. Great. Good.

1925. How about the blue one?

1926. - The blue one? - Yeah.

1927. The first one that you tried on that was boring and lumpy.

1928. This is like every morning.

1929. boring and lumpy, that one?

1930. - Yeah, which do you prefer? - I don't know.

1931. I have to admit I'm quite relieved when we get to this scene in the movie.

1932. 'Cause it has got a little sadder.

1933. And I feel as though... What? What?

1934. - We're laughing at Domhnall's acting. - I just love this bit.

1935. That was the other look.

1936. - Domhnall. Very good. - That'll do for all genre work.

1937. Do you want me to do a clip reel?

1938. - Please do. - "Can pull faces."

1939. My friend Agastine, in Spotlight,

1940. he used to have two pictures of himself exactly the same.

1941. In one he had a tie and the other one he didn't.

1942. And it said, "Can wear tie."

1943. Just like Lydia said, "Can drive."

1944. And Margot said, "Can play tennis," and I said, "Can run."

1945. - This was a longer scene. - Yeah.

1946. That was all in one shot for a while. And now it is not.

1947. I won't answer the phone, but I do need to get out.

1948. No, no getting out, no getting out. No.

1949. Okay, right.

1950. So Richard, why does he never tell her that he can travel in time?

1951. That's the question I have been asked by everybody.

1952. Because it would just complicate their lives to a hideous degree, I think.

1953. And he's just following his dad's example.

1954. I had no idea Posy actually knew how to use that machine. In a way that's impressive.

1955. Well, because the moral of the story is that

1956. being able to travel in time doesn't change the nature of your life.

1957. So the reality of their relationship supersedes his ability to travel in time.

1958. - It's beautiful and true. - When we do the technical thing, I'll go...

1959. I'll go like that, and what Tom has just said will come out of my mouth.

1960. Yeah, a minute and a half ago.

1961. Okay, look, something awful happened there

1962. and, Bill, it's all downhill for you from now on.

1963. Okay, bye.

1964. I love that walk of yours, Lydia, that determined...

1965. But you haven't exactly worn a deathly jumper.

1966. - Honestly? - Why not?

1967. I am fucking furious.

1968. I am so uninterested in a life without your father.

1969. Mary. Come on, let's make some tea.

1970. We didn't shoot the reverse of that, did we?

1971. We were so confident we were just gonna be on Lindsay.

1972. Yeah.

1973. I remember Richard doing this perfectly every time.

1974. - How are you? - I'm very well, thanks.

1975. Though a little hot.

1976. Do you, as actors, are you very aware of, as it were, big days?

1977. Do you wake up and think, "I know this is the day in which I have to do the scene,

1978. "which was the only reason I took the part"?

1979. Yes.

1980. I think you try not to, don't you? You pretend...

1981. Directors, it tends to be, "I've got so many scenes. Are we going to make it?"

1982. Or, "It's that big..."

1983. For actors, it tends to be, "I've got a lot of lines today."

1984. Right.

1985. And I've got a particular phobia about my first entrance in the film.

1986. Wherever it is in the schedule, I am very self-conscious.

1987. Even if it is right at the end, I think I'm gonna screw it up.

1988. That's my answer.

1989. - Come on, someone else. - Yeah, it's true. Big scenes.

1990. But it doesn't help having that obsession with the big scene, right?

1991. But it's there, isn't it?

1992. Also, there's certain ones you know that you're gonna have to do something with.

1993. Whereas, a lot of scenes end up benefiting from you not doing too much.

1994. Yeah, it's better to relax. What do you think, Bill?

1995. Watch. Sorry.

1996. One of the things I do think is so strange about the film

1997. is the fact that we did the beach in a day.

1998. And people who watched the film are very affected by

1999. what's happening here with you guys.

2000. But these were two days, weren't they?

2001. One day in the study, sort of, and one day in the table tennis room.

2002. Were you aware... And what I'm sort of saying is, were you aware this is it?

2003. - That this is a... - Yeah, you do think.

2004. There are certain things that you're keen on

2005. and that you want to pull off and that they're delicately balanced.

2006. And you just hope it's the day when you hit the balance.

2007. And trying harder won't necessarily help. That's, of course, the problem.

2008. No. There's is an element of it, I guess. An element of luck.

2009. You prepare as much as you can, but there's always that fear of

2010. maybe today will be one of those days, or something.

2011. This was... Yeah, most of my role was in two days, wasn't it?

2012. I know. That was...

2013. And I think, on purpose, we did leave it till late.

2014. One of the things we did work on was family feeling.

2015. And I do think by the time we got to here...

2016. It would have been odd if this had been early, wouldn't it?

2017. - Yeah. - You guys haven't known each other.

2018. Yeah. I'm sure you would always find a way to make it work, I guess.

2019. But no, it was lovely. You have enough pressure with a day like these days

2020. without knowing what the dynamic is,

2021. and it was so ingrained at that point.

2022. You must see I feel a bit cheated.

2023. Don't. In fact, feel the opposite.

2024. Do you have bad days? I now, as a writer, found out

2025. it's basically good day, bad day, good day, bad day.

2026. Do you actually go away from a day saying...

2027. - Yeah. - Yeah, that's most...

2028. If you're not allowed to say to the director, "I want to do it again"?

2029. Well, not after that day you can't.

2030. The weirdest thing is, you can have a half day which is great,

2031. and the other half of the day which is bad.

2032. You get overconfident through lunch.

2033. Can I say on that now, Lydia?

2034. Because you're the one who turned your nose up at the chocolate one.

2035. If you had met me in this jumper, you would have thought,

2036. - "There's a nice man." - You might have been together now.

2037. - In the blue? - Yeah.

2038. - The blue is really strong. Yeah. - Yeah.

2039. Completely disregarded my cardigan...

2040. And your wardrobe is amazing. The green jumper.

2041. No, go on. Tell me.

2042. Let's save some time.

2043. And so he told me his secret formula for happiness.

2044. I particularly love what Rachel does here,

2045. just as a moment of truth.

2046. This is our current statement with a revised paragraph there, highlighted.

2047. This was such an interesting day's filming for us because

2048. the judgments of how to calibrate the days,

2049. how to make it normal behaviour, and then still normal behaviour, wasn't it?

2050. It wasn't like, one day on LSD and...

2051. I remember you standing in front of the tray of shelves there with John

2052. and just saying, "But it just looks like a tray of sandwiches."

2053. And him saying, "Richard, it's just a tray of sandwiches.

2054. "I don't know how to make them look any more wonderful."

2055. - This girl here, we... - The restaurant.

2056. Rebecca, yeah. She served us in a restaurant down in Cornwall.

2057. And she just had exactly the quality that I wanted

2058. of that kind of radiant normality.

2059. Which restaurant? Do you remember?

2060. - Sam's on the Beach. - Yeah.

2061. - This man... - You thought he was guilty, didn't you?

2062. I thought he was guilty as hell. Look at him.

2063. - I know. He's lovely. - Domhnall was really worried.

2064. Domhnall was really worried that the message of the film was going to be twisted.

2065. Which is that people who've committed terrible crimes

2066. get away with it in British legal system.

2067. I can see what you mean.

2068. He was lovely. He was a lovely guy, but whatever way it was...

2069. It was just a tiny financial fraud which he actually hadn't done,

2070. had been done by someone lower in the bank.

2071. - I hope so. - Right.

2072. The first time with all the tensions and worries that

2073. stop us noticing how sweet the world can be,

2074. but the second time noticing.

2075. This was pretty well where the film started. This was the first thing I thought of.

2076. This idea of if you could time-travel, you maybe just go back a day.

2077. So if we could all go back, what would we do differently in this?

2078. I'm not sure you would all sit in a line, would you?

2079. - I wouldn't be here. - No.

2080. Today, I tried doing it today.

2081. - Did you? - I've been trying.

2082. Well, I've been trying sort of a similar thing for a while.

2083. Someone texted me this morning

2084. saying they've been really nice to the person in Pret this morning.

2085. There you are.

2086. I think that's probably too specific.

2087. I think what they've done there is they've taken too specific a message from it.

2088. - "Be nicer to people in Pret." - And they've got a guilty man off.

2089. - Is the moral. - Is the moral of the movie.

2090. Apparently, there's a continuity error. She charges you more on the second day.

2091. - For the same thing. - You're still not tired.

2092. Not guilty.

2093. Now, look. Look. I'm so glad we got this man off.

2094. Yeah. "We got off despite your terrible crime."

2095. - What have we done? - He looks like Ken Livingstone.

2096. - He's going to re-offend. - Yeah, he does.

2097. I like that his wig comes off a second time.

2098. And he's still fine, still happy. Little Josh.

2099. - That's a bit steady. - "Yeah, I'll send you the money later."

2100. - "I'll send you the enormous bribe." - He's just great.

2101. - I love this guy. The casting of somebody. - I know. He's just perfect.

2102. Just a little bit too old to be listening to that kind of music.

2103. And also really calmly as well.

2104. - Nice bit of air guitar there. - Thank you, Bill.

2105. That song, Gold in Them Hills, was also absolutely the first thing in the movie.

2106. When I first handed it in, the movie was called Tim and Time

2107. AKA The Luckiest, which is the Ben Folds film, AKA Gold in Them Hills,

2108. 'cause I was trying to decide.

2109. So that was nearly the title of the film. I love that song.

2110. Goodnight.

2111. You played that in the read-through, didn't you?

2112. Yeah, I think it was there right from the beginning.

2113. It was a very, very bad day.

2114. Maybe we should just say, if anyone's watching this, that they should buy

2115. Ron Sexsmith's first album.

2116. Because it's just absolutely perfect, as are the remaining seven.

2117. That is a very bad day.

2118. Does anyone else like to do any commercials?

2119. - Your friend's band. Delorentos. - Delorentos.

2120. Yeah, very good.

2121. Rachael Yamagata, Happenstance. The first album. It's incredible.

2122. - Okay. - I'm still listening to Shelby Lynne.

2123. - Shelby Lynne. - Shelby Lynne. I Am Shelby Lynne.

2124. This was the first day, right?

2125. I was nervous, obviously, 'cause I hadn't worked with Rachel.

2126. She acts you off the screen here, doesn't she?

2127. She does. We were filming, and I was nervous.

2128. It was the first day with the whole crew, you're meeting everybody.

2129. Then Richard says, while the camera's on, he says, "Just lean across and kiss her."

2130. So, I thought, "Cool."

2131. I leaned across and kissed Rachel McAdams, that's totally normal and fine.

2132. There was a pause, and Richard said in front of the whole crew, "I meant your daughter."

2133. - You kissed her? - Yeah.

2134. No!

2135. - I kissed her full on the mouth. - Oh, my God.

2136. - And oddly enough, Rachel... - Get it in early, why not?

2137. Rachel asked if she could stop early that day.

2138. - No, that's the bit... - She came to my trailer. She was traumatised.

2139. I love this.

2140. Look at Lindsay's walk there, everything she does...

2141. I think for the rest of the film I'm wearing your watch.

2142. Hateful day.

2143. - That's wonderful. - That's lovely.

2144. That was a weird moment, wasn't it, Tom? 'Cause the whole character sort of...

2145. - Fell apart. - Flipped.

2146. - No! - No consistency.

2147. - No! The opposite. - Where's the anger gone?

2148. Just you know that's been underneath all the time.

2149. And this, I think we should've had you in a more dramatically colored jumper there.

2150. - I should have. - Same color as the door.

2151. - You can't quite see that it's different. - My hair and the jumper.

2152. You should've worn a tuxedo.

2153. Dickens is so good on actual jokes, actual gags.

2154. Should we confess here, Bill, that we did three versions of this line?

2155. Well, I was going to ask you if you wanted to do that.

2156. And I can't remember the third one. I can remember the second one.

2157. - What was the second one? - "Signed, sealed and delivered."

2158. - That Stevie Wonder track. - Stevie Wonder.

2159. Wait a minute, then we did four.

2160. 'Cause you also said, "That Crowded House track."

2161. In case we did Don't Dream It's Over.

2162. And then you said, "That track."

2163. Just in case we couldn't get permission for any of them.

2164. Do you still have that clip?

2165. This was one of those moments on a movie

2166. when you realize you haven't done enough prep.

2167. 'Cause in there it just says, "Reads a funny bit of Dickens."

2168. And we arrived on the set and suddenly thought...

2169. So, we looked along that book, desperately trying to find a joke.

2170. I think we found one in Great Expectations.

2171. This song just makes you cry. It was so intense that day.

2172. - Good old Jay. - And this was Rachel's last day as well.

2173. So, it was all a little bit strange anyway, wasn't it?

2174. Yeah, it was, 'cause she was leaving.

2175. And then you played the Nick Cave song

2176. while we were all standing outside the house and everybody was a little bit teary.

2177. I'm so grateful he let us use the song. It's a very personal song and stuff, and it is.

2178. It's better than the film at this moment. So beautiful.

2179. It is one of the most beautiful songs ever.

2180. And it's one of those extraordinary things which does happen sometimes

2181. whenever you put music against movies, 'cause it didn't occur to me

2182. that the Into My Arms would then re-refer to you holding the children.

2183. That wasn't something I had in my mind.

2184. - "Just lean across and kiss her." - "Lean across and kiss her."

2185. "Hello, Dad just died."

2186. - This was your ad-lib? - This was not intended, yeah.

2187. Yeah, that's right.

2188. She was so sweet.

2189. Oh, no! We're about to come to another one of your funny lines, Domhnall.

2190. I'm getting more and more annoyed by the film now.

2191. - One of his own, you mean? - Yeah, this next line.

2192. Which is very smart. It was not by me.

2193. What about them?

2194. - There we go. There's the killer. - No, no! Here it comes.

2195. What?

2196. Well, I mean two?

2197. It's more than the Chinese are allowed.

2198. Here you go, everybody. Take that to the bank.

2199. - It's great. We were all watching the monitor. - Twice as many.

2200. Richard said to me, "I wish I'd written that." That was probably my best moment on set.

2201. Was there a line that you were replacing?

2202. - No, it was just the end of the scene. - No.

2203. What do you think?

2204. I remember Rachel being really worried about this bit. She was pressuring me.

2205. I also think this is probably unprecedented in film history as a philosophical dilemma.

2206. - What? - "Do I kill my father or have another child?"

2207. - Yes. Good! A moment of originality. - Well, there are many.

2208. 'Cause people sometimes say my films are a bit same-y.

2209. Come on. That's hardcore. That's new.

2210. No one's touched upon this problem before.

2211. Apart from maybe the Greeks in a kind of abstract way.

2212. - Yeah. - Yeah.

2213. - Oh, the damn Greeks. - Spoil it, spoil it.

2214. Maybe they'll put that bit in instead of the restaurant.

2215. Yeah.

2216. And this lovely tune by Nick, who did all the score.

2217. It was the first thing he played us,

2218. and it just turned out to be so simple and apt and lovely.

2219. Anyway, we might try and nothing happens.

2220. Exactly.

2221. This is one of the moments you realize there's been a cut when Domhnall says,

2222. "I know the way to the hospital." That's a 15-minute section we lost.

2223. About Abbey Road and pregnancy and time travel and Paul McCartney.

2224. There was going to be a celebrity in Abbey Road but that didn't work out.

2225. Thank heavens. Otherwise, we would have filmed it and cut it out.

2226. That would have been great. But very funny.

2227. - This is my audition for a horror movie. - Yep.

2228. The crowd, enchanted by the younger player, are seduced

2229. by memories of the older player's illustrious past.

2230. Oh, my God, I've won.

2231. I haven't won in years.

2232. You finally got good.

2233. What's my prize? Apart from the Olympic gold medal, of course.

2234. - A kiss will have to do. - A kiss?

2235. I was so aware on this day that it was up to you guys, I must admit.

2236. 'Cause you can't say to people...

2237. - Do this well. - Be more. Do this bit well.

2238. And you guys were on such extraordinary form that day.

2239. I remember feeling really relaxed

2240. 'cause I knew it was going to be fine.

2241. This was next to your last day. I think the day after this was your finishing line.

2242. I remember just thinking about the fact

2243. they were gonna say "That's a wrap on Bill" the next day

2244. and being genuinely sad about that.

2245. Congratulations.

2246. My son.

2247. My dad.

2248. Is there anything at all I can do? Is there anything you want to do?

2249. I don't know. There is this

2250. one thing.

2251. A quick little walk.

2252. Totally against the rules, of course...

2253. Here comes everybody's favourite scene in the film and the one scene that I'm not in.

2254. I'm sorry about that, Domhnall.

2255. You are in spirit.

2256. - You are. - In a way.

2257. You are, in fact.

2258. You were standing behind the camera seething because it was the last day.

2259. Saying, "I could have done this. I could have..."

2260. No, I stayed there, 'cause it was Charlie that was doing it.

2261. I was finished for the day

2262. and I stayed to watch you guys cavort on the beach.

2263. It is lovely.

2264. - There, look. - What?

2265. - The inherited rabbit run. - That's how you run, yeah.

2266. We'd run right out of time.

2267. This was so touching, 'cause this is my little son Charlie.

2268. We were wondering should we cast him or not.

2269. Charlie and Bill had been friends for eight years.

2270. I remember you doing air guitar during Love Actually.

2271. And we would never have got any of this if we'd hired someone you didn't know

2272. 'cause we only had 20 minutes, didn't we?

2273. - It's fantastic. - He was lovely.

2274. I remember being down on the beach, on that beach,

2275. 'cause while we were shooting this you were living in the house next door

2276. to the house we were shooting in.

2277. I remember being down on the beach with your boys and Tom and Bill.

2278. - We were skimming stones. Yeah. - Skimming. Skimming was great, wasn't it?

2279. - You guys were amazing. - Such good fun.

2280. And it was still fine.

2281. I love Rachel's hat, I have to say.

2282. This is pretty special, too.

2283. JP painted the house pink.

2284. We are getting near the end here.

2285. This was not Kit Kat's baby originally.

2286. And I did nearly drop it.

2287. - We just thought we'd give her a baby. - I think it's fabulous that she gets a baby.

2288. Can I just say something lovely about John Guleserian at the moment,

2289. who shot the movie.

2290. 'Cause I do think it owes much of its grace to how lovely he made it look.

2291. This last scene, just wanted it to feel different from anything else in the film

2292. and more magical even though normal.

2293. And he did such a wonderful job.

2294. I think it's a brilliant job throughout the whole thing.

2295. And he was so good on set, too, wasn't he? He was such a nice presence on set.

2296. - Yeah. - It really felt like he was here, too.

2297. And then this is the Ben Folds song, which was, sort of,

2298. part of the inspiration for the movie.

2299. Good work.

2300. Very lovely.

2301. Hello, you're down already. That's great. Thank you so much for that.

2302. And in we go.

2303. The whole film came from a conversation with a friend of mine about normal days

2304. and how much lovelier they are than the ones where you're trying to earn money

2305. or trying to win prizes or anything like that.

2306. And so this was really, yeah, where it began.

2307. And then I thought I'll have to do some time travel stuff

2308. in order to justify making a film about this.

2309. - She was great as well. - Yes, lovely.

2310. Sweet.

2311. And then most of the rest of this was directed by Emma Freud,

2312. 'cause the day we were meant to be shooting

2313. - I was struck with a gallstone. - You were incredibly ill.

2314. So as usual, just at the end, I'm sacked.

2315. That Nicky Kentish Barnes is a wonderful producer.

2316. She shot these shots.

2317. There's that little plug for Trash, the next film.

2318. For this, Emma shot that.

2319. - Is that Andy Mulligan's book? - That's Andy Mulligan's book.

2320. Look. And I love the way your hair was different in that shot.

2321. - Is that Meanwhile Gardens? - We did that late.

2322. There's Posy. The real Posy and Georgia, Mark's daughter.

2323. - This is amazing. - Well done.

2324. Genuine celebration, because it took 18 takes.

2325. I wondered. 'Cause I saw it...

2326. - It was not easy. - That was...

2327. - Look at that, man. - That took 40 takes.

2328. Then Richard went, "Just make it less porn."

2329. That's Kate Freud, a member of our family.

2330. Again shot by Emma.

2331. - Nice jumper. - Really nice jumper.

2332. - You cut the risotto line? - Yeah.

2333. Just wanted to do it as plain as possible.

2334. - Great. - There you go.

2335. Thank you for casting us, Richard.

2336. - Thanks, Richard. - You guys.

2337. - Thank you very much indeed. - Thanks for all the fun.

2338. Movies are only as good as the people in them.

2339. There she is, Emma. Well done, Emma.

2340. There we go, that's the Joanna Hogg movie, just one shot wide the whole way through.

2341. - That's how I wish I'd done it. - The whole thing.

2342. All done. Thank you very much.