Hugh Grant

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

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.