Hugh Grant

And that's the dream scenario, exactly. That's the bullseye.

Well, it's definitely very smart. I mean, it's fascinating. I'm a character who makes a lot of quite long speeches in it about religion. And they were genuinely fascinating to me. These two weirdos who wrote and directed it, Scott and Brian, who also wrote, for instance, A Quiet Place. They're interesting guys. They...

Well, it's definitely very smart. I mean, it's fascinating. I'm a character who makes a lot of quite long speeches in it about religion. And they were genuinely fascinating to me. These two weirdos who wrote and directed it, Scott and Brian, who also wrote, for instance, A Quiet Place. They're interesting guys. They...

Well, it's definitely very smart. I mean, it's fascinating. I'm a character who makes a lot of quite long speeches in it about religion. And they were genuinely fascinating to me. These two weirdos who wrote and directed it, Scott and Brian, who also wrote, for instance, A Quiet Place. They're interesting guys. They...

did years of research to come up with the arguments I make in this film, and I think they are really quite startling and fascinating. So, yeah, I enjoyed all that part of it. And it's filmy. I am obsessed with films being filmy and not just like a big format TV. So it's got incredible production design, incredible... photography.

did years of research to come up with the arguments I make in this film, and I think they are really quite startling and fascinating. So, yeah, I enjoyed all that part of it. And it's filmy. I am obsessed with films being filmy and not just like a big format TV. So it's got incredible production design, incredible... photography.

did years of research to come up with the arguments I make in this film, and I think they are really quite startling and fascinating. So, yeah, I enjoyed all that part of it. And it's filmy. I am obsessed with films being filmy and not just like a big format TV. So it's got incredible production design, incredible... photography.

And it's daring because traditionally, as you know, films tend to try and keep their dialogue quite pithy and short. This is very dialogue heavy. How are you at learning your lines? Well, worse and worse. You know, the older I get, the more I drink. But I now start weeks and weeks early. And I go for walks every day, going through every single line over and over again.

And it's daring because traditionally, as you know, films tend to try and keep their dialogue quite pithy and short. This is very dialogue heavy. How are you at learning your lines? Well, worse and worse. You know, the older I get, the more I drink. But I now start weeks and weeks early. And I go for walks every day, going through every single line over and over again.

And it's daring because traditionally, as you know, films tend to try and keep their dialogue quite pithy and short. This is very dialogue heavy. How are you at learning your lines? Well, worse and worse. You know, the older I get, the more I drink. But I now start weeks and weeks early. And I go for walks every day, going through every single line over and over again.

Because I think they, I have a theory that they're like dance steps. And that the more you repeat your dance steps, the more you can't forget them on the day. And then on the day you can have other thoughts and other feelings and do what actors are supposed to do.

Because I think they, I have a theory that they're like dance steps. And that the more you repeat your dance steps, the more you can't forget them on the day. And then on the day you can have other thoughts and other feelings and do what actors are supposed to do.

Because I think they, I have a theory that they're like dance steps. And that the more you repeat your dance steps, the more you can't forget them on the day. And then on the day you can have other thoughts and other feelings and do what actors are supposed to do.

It's in your skin. And I hate seeing in my eyes or any other actor's eyes, I think he's just looking for his next line. Yeah, yeah, yeah.

It's in your skin. And I hate seeing in my eyes or any other actor's eyes, I think he's just looking for his next line. Yeah, yeah, yeah.

It's in your skin. And I hate seeing in my eyes or any other actor's eyes, I think he's just looking for his next line. Yeah, yeah, yeah.

You're right. I worked in the theater once with a very good director who used to say, don't nest, you're nesting your lines in rehearsal. And that was brilliant. You don't want to nest, but at the same time, I've worked with actors, as I say, where they're just struggling for their lines the whole time. That's all that's going on in their eyes.

You're right. I worked in the theater once with a very good director who used to say, don't nest, you're nesting your lines in rehearsal. And that was brilliant. You don't want to nest, but at the same time, I've worked with actors, as I say, where they're just struggling for their lines the whole time. That's all that's going on in their eyes.

You're right. I worked in the theater once with a very good director who used to say, don't nest, you're nesting your lines in rehearsal. And that was brilliant. You don't want to nest, but at the same time, I've worked with actors, as I say, where they're just struggling for their lines the whole time. That's all that's going on in their eyes.

It is of interest. There's lots of it which is of interest. The bit that would get me down is the work. a year or two years on the same story I've produced films in the past and you know by the end of the year and a half you just think I don't care anymore just get it out you know when you're in a Foley session about which footsteps for the postman coming up the stairs you know