Hugh Grant

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

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

Yeah.

Yeah.

Yeah.

How did you get the 40-story one? Did you actually throw someone out?

How did you get the 40-story one? Did you actually throw someone out?

How did you get the 40-story one? Did you actually throw someone out?

It's also very, very hard to see the story, I find, after a year or a year and a half.

It's also very, very hard to see the story, I find, after a year or a year and a half.

It's also very, very hard to see the story, I find, after a year or a year and a half.

Yeah. To produce one of those films, we used to call, you know, the cleaning lady in the editing room and just say, come and watch this film. And then suddenly you could see it. You see it through someone else's eyes. But I couldn't.

Yeah. To produce one of those films, we used to call, you know, the cleaning lady in the editing room and just say, come and watch this film. And then suddenly you could see it. You see it through someone else's eyes. But I couldn't.

Yeah. To produce one of those films, we used to call, you know, the cleaning lady in the editing room and just say, come and watch this film. And then suddenly you could see it. You see it through someone else's eyes. But I couldn't.

Well, increasingly, I ginger up my dialogue. Not on every film, but on some of them, a lot. A lot. Maybe up to 80% is scribbled by me. Oh, really? Yeah. There's nothing wrong with that.

Well, increasingly, I ginger up my dialogue. Not on every film, but on some of them, a lot. A lot. Maybe up to 80% is scribbled by me. Oh, really? Yeah. There's nothing wrong with that.

Well, increasingly, I ginger up my dialogue. Not on every film, but on some of them, a lot. A lot. Maybe up to 80% is scribbled by me. Oh, really? Yeah. There's nothing wrong with that.

I agree. It's a little window. I'm a master of that.

I agree. It's a little window. I'm a master of that.

I agree. It's a little window. I'm a master of that.