Josh O'Connor

to me which really helped and unlocked a lot for me which was that he said see this philosophy in this paradox in this difficulty which is here is a character who is waiting for his mother to die in order for his life to take meaning and that was kind of enough for me that was like okay that's enough for me to get my teeth into and then from there it was about

constantly colouring everything he does with the same sort of textures that you or I might feel around family which is how do you get the respect and the acclaim of your parents how do we please our parents and so in this in that particular scene you know he's desperately wanting affirmation from his mother and at the same time he's

very aware that he's in a kind of holding bay.

He's the prince.

He's in waiting.

And in order for him to take that responsibility to take up his meaning, his mum has to die.

You know, I studied a lot of footage of young Prince Charles and how he maneuvered and how he walked around.

But I think after a little bit of that, it was like, okay, I've got the basis of that.

Let's try and understand what an exaggerated version of that might look like.

But more importantly, where that comes from.

Is there a sense of him protecting himself?

Is he cowering?

because, you know, he's got the weight of the world on his shoulders.

I had issues with my back before I started, so they were just worsened by playing French Charles.

But I think there were a couple of years where I was trying to get out of that physicality.

But that happens with every... There's always this buffer period after I play any role where I'm kind of half in, half out.

And it's a little strange.

And I, you know, I had it... I did this movie in Italy a few years ago, which was very meaningful to me.

And a great friend of mine was talking to me about it recently.

And she was like, you know, you wore the suit of the character for a year after you finished that film.