WEBVTT - Sir David Hare

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<v Speaker 1>You are listening to Ruthie's Table four in partnership with Montclair.

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<v Speaker 2>Quite often people say to me, I couldn't possibly have

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<v Speaker 2>you to dinner. You're the chef of the River Cafe

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<v Speaker 2>and cooking for you would be overwhelming. That's how I

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<v Speaker 2>feel about introducing Sir David Hare. How do you write

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<v Speaker 2>for one of the great playwrights of our generation? Skylight plenty,

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<v Speaker 2>stuff Happens, Beat the Devil, screenplays for movies, The Hours, Damage,

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<v Speaker 2>The White Crow, to name a few. But I do

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<v Speaker 2>think David and I do have much in common. We

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<v Speaker 2>both like being hosts, me in the River Cafe and

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<v Speaker 2>David in his home, where he understands the theater of

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<v Speaker 2>sitting at a table. We both know that if food

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<v Speaker 2>brings a table to life, so do the people around it.

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<v Speaker 2>And for David, apparently the ingredients for good night are

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<v Speaker 2>always carefully considered. We also share a love for what

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<v Speaker 2>we do, and I think we're both defined by our

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<v Speaker 2>commitment investment in social and political issues of the day.

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<v Speaker 2>In the past few days, I've been spoken to many

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<v Speaker 2>of the actors and directors who say that working for

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<v Speaker 2>him was an honor and a huge part of their career.

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<v Speaker 2>David's commitment to the written word on stage and screen

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<v Speaker 2>is only rivaled by his love for sculptor Nicole Fari,

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<v Speaker 2>his beautiful, brilliant wife of over thirty years. A commitment

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<v Speaker 2>to our partner's mind, to Richard Rodgers is yet another

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<v Speaker 2>thing we share today. We are here together in the

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<v Speaker 2>River Cafe to talk about food, memories, theater, travel and more.

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<v Speaker 2>It'd be natural to feel overwhelmed, but David makes it easy,

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<v Speaker 2>and I just feel delighted and lucky to have him here.

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<v Speaker 1>How kind of you, Thank you.

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<v Speaker 2>I have just come from the River Cafe kitchen and

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<v Speaker 2>you said that you wanted to do the recipe for

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<v Speaker 2>squid rocket and chili. And was that had that had

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<v Speaker 2>something to do with your memory of Rose? If we're

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<v Speaker 2>talking about memories.

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<v Speaker 1>I knew Rose that winter, which you can see.

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<v Speaker 2>So Rose Gray, the co founder with me of the

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<v Speaker 2>River Cafe.

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<v Speaker 1>Will know more about this than I did. I knew

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<v Speaker 1>Rose Gray. And Rose went out to Tuscany one winter,

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<v Speaker 1>not to start a restaurant at all, but to start

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<v Speaker 1>a cook to write a cookbook. And she went for

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<v Speaker 1>six months to stay in the house of Henry Moore's

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<v Speaker 1>daughter Mary Moore, and so I knew her then, and

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<v Speaker 1>she came back with I can see the book in

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<v Speaker 1>my head with all this, all these sort of notebook

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<v Speaker 1>full of recipes, and somehow, which I've never understood, how

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<v Speaker 1>you managed to push her off course and to get

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<v Speaker 1>her to open a restaurant and not to write a cookbook.

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<v Speaker 2>You don't want to write a cookbook? Grow do you

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<v Speaker 2>want to come and open a little cafe in Harrismith?

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<v Speaker 1>Did you say that to her?

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<v Speaker 2>She'd always been a passionate cook when I first met her,

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<v Speaker 2>before she went tiddly, and then I think she took

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<v Speaker 2>that time to really get into the kind of cooking

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<v Speaker 2>of Tuscany, to learn the recipes. And she was a

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<v Speaker 2>beautiful draftsman. She draw everything. We would sit at a

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<v Speaker 2>table talking about it to mate them and she'd say

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<v Speaker 2>this is the one I want and draw it. Yeah,

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<v Speaker 2>And so I think she can buy the illustrations with

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<v Speaker 2>the recipes. And she came back and she went to

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<v Speaker 2>work with Anthony Carlucco. And so then when Richard had

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<v Speaker 2>this space here, you know, we were looking for people

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<v Speaker 2>to do it, and I called up Ros and said,

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<v Speaker 2>do you want to do this with me? Should we do

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<v Speaker 2>it together? And within the day we decided to Are

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<v Speaker 2>you saying eighty seven, Well yeah, talking to her in

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<v Speaker 2>eighty six probably, and then opening in eighty seven, but

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<v Speaker 2>it was teeny tiny and then the rest is history.

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<v Speaker 1>I chose this recipe because it's the first thing I

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<v Speaker 1>ever had here and I can remember. And I came

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<v Speaker 1>with Julie Christie, and Julie said to me, have the squid.

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<v Speaker 1>It's the best thing, because she'd been before and she

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<v Speaker 1>told me to have the squid. And I had the squid,

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<v Speaker 1>and I've never forgotten the taste, and I've just tasted

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<v Speaker 1>it in your kitchen.

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<v Speaker 2>It's exactly thirty seven years later.

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<v Speaker 1>It tastes exactly the same, which is an amazing achievement.

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<v Speaker 2>So would you like to read the recipe that you chose.

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<v Speaker 1>Six medium squid, twelve red chilies, seated, chopped, two hundred

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<v Speaker 1>and twenty five grams of rocket, and three lemons. Clean

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<v Speaker 1>the squid, and, using a serrated knife, score the inner

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<v Speaker 1>side of the flattened squid body with parallel lines one

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<v Speaker 1>centimeter apart. Do the same the other way to make

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<v Speaker 1>cross hatching for the chili sauce. Put the chopped chili

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<v Speaker 1>in a bowl and cover with the oil. Place the

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<v Speaker 1>squid scored side down on a hot grill, season and

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<v Speaker 1>grill for one or two minutes. Yeah, but your grill's

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<v Speaker 1>much nicer than most home grills.

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<v Speaker 2>And even on any grill won't take very long time.

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<v Speaker 1>Turn the squid over, they will immediately curl up, by

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<v Speaker 1>which time they will be cooked. You toss the rocket

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<v Speaker 1>in olive oil and lemon. You plate with some of

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<v Speaker 1>the rocket. You spoon the chili sauce on the squid,

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<v Speaker 1>and you serve with lemon. And there is actually no

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<v Speaker 1>better lunch than that. It's sort of the best thing

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<v Speaker 1>to eat between noon and one o'clock on a weekday.

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<v Speaker 2>The River Cafe is excited. We're opening the River Cafe Cafe.

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<v Speaker 2>Come for a morning Briochian cappuccino, a plate of seasonal

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<v Speaker 2>antipasity on the terrace, or an ice cream or a

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<v Speaker 2>peratibo in the sun. We can't wait to open and

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<v Speaker 2>we cannot wait to welcome you. I want to talk

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<v Speaker 2>about your childhood and growing up and going to the

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<v Speaker 2>school where food was poisonous, but maybe we should just

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<v Speaker 2>start at the beginning of your time in London. For

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<v Speaker 2>now and then go back to that. Tell me about restaurants.

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<v Speaker 1>Well, I very much agree with Michael Winner. I can't

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<v Speaker 1>say that about many things, but I very much agree

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<v Speaker 1>with Michael Winner when you said everyone thinks there's been

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<v Speaker 1>a food revolution, but actually the food was better in

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<v Speaker 1>the nineteen fifties and sixties, And of course that's not

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<v Speaker 1>universally true, meaning buying large food was terrible. Of course

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<v Speaker 1>it was in Britain, it was absolutely awful. But maybe

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<v Speaker 1>because each restaurant was the first place that you tasted

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<v Speaker 1>wonderful things, they seemed more wonderful because of that. In

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<v Speaker 1>other words, when I first met Michael Winner, I was

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<v Speaker 1>running the Cambridge Film Society and I was inviting him

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<v Speaker 1>to show his film I'll Never Forget was his name,

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<v Speaker 1>and he took me to Cuovardist. Well, I mean, if

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<v Speaker 1>you've been a boy who'd been brought up in bex

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<v Speaker 1>Hill in the nineteen fifties, then Clovardist was just beyond

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<v Speaker 1>anything you could imagine. It was so delicious. And I

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<v Speaker 1>wrote down a few of the other places that we

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<v Speaker 1>used to go. Jimmy's, of course, Jimmy's a Greek. Jimmy's

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<v Speaker 1>the famous Greek Streep when you went downstairs, where you

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<v Speaker 1>went downstairs and you had beef steering chips for three

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<v Speaker 1>and six months and it was so delicious. The Amalfi,

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<v Speaker 1>which was the only place where you could get a pizza.

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<v Speaker 1>This is before Pizza Express.

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<v Speaker 2>Were we talking fifties, which I was sixties.

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<v Speaker 1>Sixties, that's early sixties. Young Friends. You had to drive

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<v Speaker 1>down towards Stratford East and there was a Chinese restaurant

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<v Speaker 1>down there called Young Friends that was so delicious. I

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<v Speaker 1>can still taste it. And we thought nothing of driving

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<v Speaker 1>for an hour down to the East Dend to go

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<v Speaker 1>to Young Friends because it was the only place you

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<v Speaker 1>could get really top right Chinese food. I'm hoping everyone's

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<v Speaker 1>salivating at the memory of this. The Ganges, of course,

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<v Speaker 1>the Indian restaurant in what is now Chinatown a Gerrard

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<v Speaker 1>Street and the Ganges was run by Calcutta Communists, and

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<v Speaker 1>the guy who ran it worked on a share of

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<v Speaker 1>the take for everybody who worked in the restaurant, so

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<v Speaker 1>that everybody was paid equally, regardless of whether they were

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<v Speaker 1>a cook or a waiter or the owner or whatever

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<v Speaker 1>your job was. Because they were Communists and they cooked

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<v Speaker 1>the best prawn partier I have ever tasted in my life.

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<v Speaker 1>I will never taste a porn partier as good as

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<v Speaker 1>that again. Or maybe it's just it's because it's the first.

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<v Speaker 2>But do you know, I think there are writers, actors, musicians,

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<v Speaker 2>Paul McCartney for one, footballers Dave Beckham, they really measure

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<v Speaker 2>their success in terms of where they were able to eat,

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<v Speaker 2>you know, so they remember the first time Beckham will

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<v Speaker 2>say that he went to a restaurant where he didn't

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<v Speaker 2>have to look at the prices first, or when Paul

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<v Speaker 2>McCartney toldly had a good bottle of wine, and that

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<v Speaker 2>it became kind of seeing their career through the trajectory

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<v Speaker 2>of where they were able to eat.

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<v Speaker 1>It's so true, isn't it. But what I loved was

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<v Speaker 1>all these places. You know, I'm going to remember Schmids.

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<v Speaker 1>You're too young to know. Schmidts was Eastern European food

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<v Speaker 1>in Charlotte Street where you could have Again, there was

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<v Speaker 1>a lot of berth Berg in Yon, sort of those

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<v Speaker 1>kind of stewy Eastern European food, very very very cheap

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<v Speaker 1>and absolutely delicious, and that there's less of. That's what

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<v Speaker 1>I think that there was that whole idea that the

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<v Speaker 1>best food might be really cheap.

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<v Speaker 2>Sometimes the best food was cheap, and sometimes it was

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<v Speaker 2>just such a great experience to go to a restaurant

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<v Speaker 2>where everybody was having fun. You know that you didn't

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<v Speaker 2>feel intimidated, you didn't feel that if you didn't know

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<v Speaker 2>the wine list, everybody'd be looking down on you, but

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<v Speaker 2>that restaurants were fun. Did you go to restaurants as

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<v Speaker 2>a child. Did your parents ever take you to restaurants?

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<v Speaker 1>My dad was a sailor, and so basically it was

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<v Speaker 1>austerity at home, and then one month of the year

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<v Speaker 1>he'd come in with a big roll of notes that

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<v Speaker 1>he you know, he would come with an elastic band

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<v Speaker 1>full of five pound notes. We lived in in austere,

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<v Speaker 1>cheerless Britain, and he'd roll in with, you know, all

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<v Speaker 1>this money, and he'd take us out to a steakhouse

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<v Speaker 1>in Hastings on the front, which of course was run

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<v Speaker 1>by Cypriots, as steakhouses then were, and we would have

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<v Speaker 1>what would seem to us and unimaginably luxurious. And also

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<v Speaker 1>because he was the purser on the ship, all this

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<v Speaker 1>stuff would come to the house like a whole lamb.

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<v Speaker 1>I mean you know, off the side from piano, and

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<v Speaker 1>so ridiculous quantities of things you couldn't deal with would

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<v Speaker 1>suddenly arrive in the house when there was no food

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<v Speaker 1>when he was away because he didn't leave much behind him.

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<v Speaker 2>And your mother cooked for you every day. My mother

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<v Speaker 2>cooked and she was so did she have to have

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<v Speaker 2>a directness?

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<v Speaker 1>And she was believe you were there?

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<v Speaker 2>How many of me?

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<v Speaker 1>And my sister too. And when I divorced from my

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<v Speaker 1>first wife, she said, but who's going to look after you?

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<v Speaker 1>And I said, well, I'm going to look after myself.

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<v Speaker 1>And she said, but the earning, the cleaning, the cooking,

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<v Speaker 1>Who's going to do that? And I said, well, I

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<v Speaker 1>probably have to do that myself, won't I And my

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<v Speaker 1>mother just couldn't understand. She just couldn't understand how a

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<v Speaker 1>man could live alone, because it's sort of if that

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<v Speaker 1>was possible. What was her life about, because her life

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<v Speaker 1>had been about caring about us.

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<v Speaker 2>Yeah, And what did she cook for you?

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<v Speaker 1>Stovey potatoes? Do you know that? Okay? Well, stovee But

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<v Speaker 1>I've looked it up since I said I was going

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<v Speaker 1>to mention it. And apparently you can put anything you like.

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<v Speaker 1>For instance, you bowl the potatoes and then you pour

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<v Speaker 1>over the fat from Sunday's joint over it to make

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<v Speaker 1>them taste, or you put the shreds of the remains in.

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<v Speaker 1>But it's basically meat, vegetables and potatoes bald together. And

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<v Speaker 1>that was was good, absolutely delicious, very very good. How

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<v Speaker 1>can it's a peasant dick and Scottish food was very

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<v Speaker 1>basic like that. And the beloved things were stovey potatoes

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<v Speaker 1>hagish obviously, which is you know, a quiet taste, but

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<v Speaker 1>I love it, and mints, which I gather now is

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<v Speaker 1>on posh menus.

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<v Speaker 2>Just as your mother came from Scotland to tastings.

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<v Speaker 1>Yeah, she met my father during the war in Grinnock.

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<v Speaker 1>He was in the Royal Navy during the war and

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<v Speaker 1>so she was working in the Wrens and they met

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<v Speaker 1>in Grinnock, down the Estuary from Paisley. Paisley is a

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<v Speaker 1>suburb of Glasgow from which the famous Scottish playwright John

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<v Speaker 1>Byrne came from there, and John writes brilliantly about Paisley

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<v Speaker 1>and Paisley is one of the roughest towns in Scotland.

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<v Speaker 1>It is a really, really tough place and it made

0:12:19.120 --> 0:12:21.960
<v Speaker 1>my mother a very very timid woman. She spent her

0:12:21.960 --> 0:12:26.320
<v Speaker 1>whole life terrified and particularly terrified of men, because she

0:12:27.120 --> 0:12:29.840
<v Speaker 1>getting home at Saturday night over the rolling drunks in

0:12:29.960 --> 0:12:32.360
<v Speaker 1>Paisley had made her very very frightened.

0:12:32.840 --> 0:12:35.720
<v Speaker 2>And so growing up, then you went to boarding school.

0:12:35.760 --> 0:12:37.120
<v Speaker 1>I went to a school called Lancing.

0:12:37.160 --> 0:12:38.360
<v Speaker 2>Oh Lancing, yeah, I know that.

0:12:38.400 --> 0:12:44.000
<v Speaker 1>And my contemporaries were three of us, all entered show business.

0:12:44.280 --> 0:12:46.680
<v Speaker 1>Tim Rice, who was a little bit older than me,

0:12:47.000 --> 0:12:50.480
<v Speaker 1>and Christopher Hampton and me. So there's this extraordinary coincidence

0:12:50.520 --> 0:12:52.760
<v Speaker 1>that all three of us were at school together. I

0:12:52.800 --> 0:12:55.040
<v Speaker 1>have a friend who's a headmaster who says he's worked

0:12:55.040 --> 0:12:58.480
<v Speaker 1>in many, many schools, but he has never seen food

0:12:58.559 --> 0:13:01.719
<v Speaker 1>served to anybody as disgusting as the food that we

0:13:01.720 --> 0:13:04.600
<v Speaker 1>were served at Lancing in the nineteen sixties. I just

0:13:04.640 --> 0:13:08.920
<v Speaker 1>remember carried eggs with a skin over them. I remember

0:13:08.960 --> 0:13:11.679
<v Speaker 1>fish in white sauce with a skin over it. I

0:13:11.679 --> 0:13:14.439
<v Speaker 1>remember everything with a skin over it. And I particularly

0:13:14.480 --> 0:13:20.400
<v Speaker 1>remember that they put tea leaves in a sock and

0:13:20.480 --> 0:13:23.439
<v Speaker 1>lowered the sock into an urn and poured boiling water

0:13:23.520 --> 0:13:26.960
<v Speaker 1>into the urn and used a sock as a form

0:13:27.240 --> 0:13:32.840
<v Speaker 1>of tea bag, and it it was primeval.

0:13:33.120 --> 0:13:35.560
<v Speaker 2>Yeah, and no wonder why, because it must have been

0:13:35.559 --> 0:13:38.320
<v Speaker 2>a school that encouraged Did it encourage you, three of

0:13:38.360 --> 0:13:41.680
<v Speaker 2>you to be involved in drama the arts at all?

0:13:41.880 --> 0:13:45.240
<v Speaker 1>We were lucky enough to be at an old fashioned

0:13:45.280 --> 0:13:50.439
<v Speaker 1>public school which was going through a period of humanist revival,

0:13:50.679 --> 0:13:52.680
<v Speaker 1>and we were encouraged. You know, we had an art

0:13:52.760 --> 0:13:55.679
<v Speaker 1>film society in which we were looking at Bergmann films

0:13:55.679 --> 0:13:58.600
<v Speaker 1>and Fellini films and Antonioni films, and these were being

0:13:58.600 --> 0:14:00.840
<v Speaker 1>shown to us at the age of sixty. We had

0:14:00.880 --> 0:14:04.120
<v Speaker 1>a couple, I had a couple of brilliant, enlightened teachers

0:14:04.679 --> 0:14:08.320
<v Speaker 1>who did the classic thing of infusing you with love

0:14:08.360 --> 0:14:11.640
<v Speaker 1>of French and German literature and English literature and the

0:14:11.760 --> 0:14:15.080
<v Speaker 1>arts and drama and film. And we were just very

0:14:15.200 --> 0:14:18.920
<v Speaker 1>very lucky. But not food, so not food at all.

0:14:18.960 --> 0:14:19.200
<v Speaker 2>Food.

0:14:19.480 --> 0:14:21.560
<v Speaker 1>So for food you had to go into and you

0:14:21.680 --> 0:14:25.600
<v Speaker 1>go into Brighton. I couldn't afford to go to English Is,

0:14:25.880 --> 0:14:28.560
<v Speaker 1>which was the fish restaurant. Do you know that one?

0:14:29.840 --> 0:14:30.640
<v Speaker 1>You know nothing?

0:14:30.720 --> 0:14:32.640
<v Speaker 2>I know nothing, You know nothing.

0:14:32.800 --> 0:14:35.440
<v Speaker 1>Teach me you know nothing.

0:14:35.640 --> 0:14:37.800
<v Speaker 2>That's soul to be you educated of.

0:14:38.040 --> 0:14:41.480
<v Speaker 1>You have no idea how difficult it was to eat well,

0:14:42.440 --> 0:14:45.600
<v Speaker 1>and then how satisfying. It was to manage to eat well,

0:14:46.160 --> 0:14:50.040
<v Speaker 1>because the basic diet of the British was disgusting.

0:14:50.720 --> 0:14:53.680
<v Speaker 2>I always say they came out of a war, you know,

0:14:53.960 --> 0:14:56.440
<v Speaker 2>they came out of rational and cut them some slack.

0:14:56.600 --> 0:14:59.680
<v Speaker 1>I've just read a novel by Margonite Alaski, which who

0:14:59.760 --> 0:15:03.640
<v Speaker 1>was a sort of forties intellectual, called The Lost Child,

0:15:03.800 --> 0:15:06.280
<v Speaker 1>and it's about a man who goes from England to

0:15:06.320 --> 0:15:09.520
<v Speaker 1>try and find his child. In France in nineteen forty

0:15:09.520 --> 0:15:13.520
<v Speaker 1>five and France in ninety forty five, everyone's eating absolutely

0:15:13.640 --> 0:15:16.800
<v Speaker 1>wonderfully and the first thing he says is, oh my god.

0:15:17.640 --> 0:15:21.560
<v Speaker 1>France was an occupied country under the Nazi rule, which

0:15:21.680 --> 0:15:24.800
<v Speaker 1>you know, suffered terribly during the Second World War, and

0:15:24.880 --> 0:15:28.640
<v Speaker 1>yet there's all this gorgeous food, whereas in London by

0:15:28.680 --> 0:15:31.040
<v Speaker 1>the end of the war there was absolutely nothing left

0:15:31.080 --> 0:15:34.280
<v Speaker 1>at all, the people reaching cabbages and turnips and busps.

0:15:34.400 --> 0:15:37.240
<v Speaker 2>Would you eat when when you're writing I.

0:15:37.160 --> 0:15:38.720
<v Speaker 1>Can't eat before the theater, You.

0:15:38.760 --> 0:15:42.120
<v Speaker 2>Can't before I play. Nobody I haven't met. I've only

0:15:42.120 --> 0:15:45.520
<v Speaker 2>met one person who could eat before, during, and after,

0:15:45.600 --> 0:15:48.280
<v Speaker 2>and that was Emily Blunt. Otherwise everybody says.

0:15:48.040 --> 0:15:50.440
<v Speaker 1>They can you I mean when she's actually performed, she has.

0:15:50.360 --> 0:15:52.440
<v Speaker 2>A hamburger like before she goes on and then she

0:15:52.520 --> 0:15:55.320
<v Speaker 2>has a hamburger sometimes in the middle of the between eggs. Yeah,

0:15:55.600 --> 0:15:56.320
<v Speaker 2>she's an eider.

0:15:56.480 --> 0:16:00.880
<v Speaker 1>That is absolutely extraordinary, isn't it. The advantage of running

0:16:00.880 --> 0:16:03.680
<v Speaker 1>a traveling theater, which we did from nineteen sixty eight

0:16:03.720 --> 0:16:07.200
<v Speaker 1>to nineteen seventy one, was you go to a regional city,

0:16:07.880 --> 0:16:11.760
<v Speaker 1>you do the show that by nine point thirty there

0:16:11.800 --> 0:16:14.960
<v Speaker 1>was nowhere to eat, absolutely nowhere. So we always ended

0:16:15.040 --> 0:16:18.160
<v Speaker 1>up in the gay club because every single city I

0:16:18.160 --> 0:16:20.480
<v Speaker 1>can remember the gay club in York, I can remember

0:16:20.520 --> 0:16:23.080
<v Speaker 1>the gay club in Gloucester. You know, every city you

0:16:23.120 --> 0:16:25.000
<v Speaker 1>went to there would be a gay club.

0:16:25.280 --> 0:16:26.240
<v Speaker 2>Was it quite closeted?

0:16:26.440 --> 0:16:29.840
<v Speaker 1>Yeah, it was pretty closeted. It was usually downstairs. You'd

0:16:29.920 --> 0:16:33.680
<v Speaker 1>usually go downstairs and then they'd usually be red velvet

0:16:34.000 --> 0:16:36.720
<v Speaker 1>and sort of you know, a bit of decor and

0:16:36.760 --> 0:16:39.000
<v Speaker 1>then down it of course would be the liveliest and

0:16:39.080 --> 0:16:42.000
<v Speaker 1>most fun and most interesting place in the town. And

0:16:42.040 --> 0:16:43.880
<v Speaker 1>it was the place where people who didn't go to

0:16:43.920 --> 0:16:47.280
<v Speaker 1>bed at ten o'clock wiled away the hours till one

0:16:47.480 --> 0:16:47.920
<v Speaker 1>or two.

0:16:48.040 --> 0:16:49.800
<v Speaker 2>What was the food like at a gay club?

0:16:50.240 --> 0:16:53.480
<v Speaker 1>They were okay, it was okay. Yeah, there's usually be

0:16:53.560 --> 0:16:55.920
<v Speaker 1>something you could eat that was decent, decent to eat.

0:16:56.240 --> 0:16:58.280
<v Speaker 1>And it was the same in London. There were actors

0:16:58.320 --> 0:17:01.200
<v Speaker 1>clubs in London that were are gay ish, they were

0:17:01.240 --> 0:17:05.040
<v Speaker 1>predominantly gay or a couple in London where you were,

0:17:05.040 --> 0:17:08.840
<v Speaker 1>and they were very They were basically places where actors

0:17:08.880 --> 0:17:12.760
<v Speaker 1>went to after the show and they were very, very nice,

0:17:13.119 --> 0:17:14.960
<v Speaker 1>and it made you feel you were part of a

0:17:15.000 --> 0:17:16.760
<v Speaker 1>community and that you were part of a way of

0:17:16.800 --> 0:17:19.560
<v Speaker 1>life and that you were you were all in it together.

0:17:19.960 --> 0:17:23.240
<v Speaker 2>I can understand why an actor might not eat for

0:17:23.480 --> 0:17:26.520
<v Speaker 2>the performances. As the writer, why wouldn't you eat, you

0:17:26.680 --> 0:17:33.399
<v Speaker 2>just to with nerves and then after you were able

0:17:33.480 --> 0:17:35.280
<v Speaker 2>to go out, because that's the thing is that you

0:17:35.359 --> 0:17:36.040
<v Speaker 2>go out, you go.

0:17:37.520 --> 0:17:41.520
<v Speaker 1>Yeah. And probably the career of Jeremy King is entirely based,

0:17:41.600 --> 0:17:45.600
<v Speaker 1>isn't it. I mean a parice and all those restaurants

0:17:45.680 --> 0:17:49.919
<v Speaker 1>Schiky's in that they're entirely based on their reputation for

0:17:50.000 --> 0:17:53.199
<v Speaker 1>being places where actors go. Because Jeremy always had that

0:17:53.400 --> 0:17:56.640
<v Speaker 1>very simple philosophy that people go as much to stare

0:17:56.680 --> 0:17:58.919
<v Speaker 1>at the other diners as they do to eat the food.

0:18:00.160 --> 0:18:02.639
<v Speaker 1>Erby King again, who I probably knew right at the

0:18:02.720 --> 0:18:07.680
<v Speaker 1>very beginning of when he first started. You know, he

0:18:08.200 --> 0:18:11.719
<v Speaker 1>just worked out that if you could see actors, and

0:18:11.800 --> 0:18:14.399
<v Speaker 1>in fact, you know, at the National Theater, we always

0:18:14.440 --> 0:18:16.960
<v Speaker 1>had the problem that nobody would go to that restaurant.

0:18:17.320 --> 0:18:20.560
<v Speaker 1>The restaurant was always a disaster, and I remember Jeremy

0:18:20.640 --> 0:18:23.960
<v Speaker 1>was asked, what do you do about it? He said,

0:18:24.080 --> 0:18:27.320
<v Speaker 1>let the actors eat their half price, and if the

0:18:27.359 --> 0:18:30.440
<v Speaker 1>audience believes they will see the actors after the show,

0:18:30.920 --> 0:18:33.399
<v Speaker 1>then they will go to that restaurant. If you know,

0:18:33.520 --> 0:18:36.280
<v Speaker 1>if you go to the show and afterwards you see

0:18:36.520 --> 0:18:40.080
<v Speaker 1>I don't know, Tony Hopkins or Judy Dench, then of

0:18:40.119 --> 0:18:43.000
<v Speaker 1>course it seems like a good restaurant. But if you

0:18:43.080 --> 0:18:45.280
<v Speaker 1>go and it's just you and the wind whistling ground,

0:18:46.280 --> 0:18:47.240
<v Speaker 1>it's not very cheerful.

0:18:47.359 --> 0:18:49.479
<v Speaker 2>There's actually they say, there's a good restaurant there, now

0:18:49.520 --> 0:18:52.640
<v Speaker 2>have you as it's very touchingly named the lastin which

0:18:52.680 --> 0:18:54.119
<v Speaker 2>is named after Dennis Lasten.

0:18:54.480 --> 0:18:56.880
<v Speaker 1>I have to be very careful about this because actually

0:18:56.920 --> 0:18:59.080
<v Speaker 1>that restaurant, believe it or not, is when I first

0:18:59.160 --> 0:19:00.399
<v Speaker 1>saw my wife, see.

0:19:00.240 --> 0:19:02.439
<v Speaker 2>Her across the crowded room, I did, did.

0:19:02.320 --> 0:19:07.080
<v Speaker 1>You I'd written a play called murmuring joges yes, and

0:19:07.520 --> 0:19:12.800
<v Speaker 1>the technical rehearsal. The leading lady's clothes were very poor,

0:19:13.560 --> 0:19:15.800
<v Speaker 1>and I said to Bob Crowley, who was the designer,

0:19:15.920 --> 0:19:19.760
<v Speaker 1>I don't think very much of what she's wearing. And

0:19:19.800 --> 0:19:23.440
<v Speaker 1>Bob said, don't worry, I'm seeing Nickel Farrey tomorrow. And

0:19:23.640 --> 0:19:26.960
<v Speaker 1>I didn't know what that meant. I remember, I'm seeing

0:19:27.000 --> 0:19:30.919
<v Speaker 1>Nicole far what that means? Then, of course the leading lady,

0:19:31.160 --> 0:19:34.600
<v Speaker 1>Alfonsia Emmanuel, turned up the next day in the most

0:19:34.680 --> 0:19:37.920
<v Speaker 1>dazzling clothes and I said, oh my goodness me, this

0:19:38.160 --> 0:19:41.760
<v Speaker 1>Nickel Farrey must be something. And Bob said, well, you'll

0:19:41.800 --> 0:19:44.040
<v Speaker 1>meet her because we'll give her tickets for the first night.

0:19:44.880 --> 0:19:50.399
<v Speaker 1>And so this is, i'm afraid, a humble brag that

0:19:50.720 --> 0:19:53.720
<v Speaker 1>she wasn't going to come. But fortunately I went on

0:19:53.800 --> 0:19:55.280
<v Speaker 1>late night Lineup the night.

0:19:55.640 --> 0:19:56.480
<v Speaker 2>Late night Lineup.

0:19:56.600 --> 0:20:00.639
<v Speaker 1>Yeah, and she saw me on television night before and

0:20:00.720 --> 0:20:02.160
<v Speaker 1>she went, oh maybe I will.

0:20:01.920 --> 0:20:03.840
<v Speaker 2>Go, yeah, yeah, And.

0:20:03.880 --> 0:20:06.520
<v Speaker 1>So she went, and there she was on the first night.

0:20:07.320 --> 0:20:08.800
<v Speaker 2>And do you go to restaurants of that now?

0:20:10.480 --> 0:20:13.760
<v Speaker 1>Hermets? You are well, because Nicole was a fashion designer,

0:20:14.000 --> 0:20:16.480
<v Speaker 1>and so when she was a fashion designer, she was

0:20:16.520 --> 0:20:20.040
<v Speaker 1>out and about a lot. Now she's a sculptor. She

0:20:20.119 --> 0:20:22.240
<v Speaker 1>just wants to stay at home all the time, and

0:20:22.440 --> 0:20:24.200
<v Speaker 1>I'm very very happy watching television.

0:20:31.000 --> 0:20:34.240
<v Speaker 2>If you like listening to Ruthie's Table four, would you

0:20:34.359 --> 0:20:38.359
<v Speaker 2>please make sure to rape and review the podcast on

0:20:38.440 --> 0:20:43.440
<v Speaker 2>the iHeartRadio app, Apple Podcasts, Spotify, or wherever you get

0:20:43.480 --> 0:20:54.879
<v Speaker 2>your podcasts. Thank you. There are movies about meals that

0:20:54.960 --> 0:20:59.160
<v Speaker 2>people have, and there's wonderful plays about the kitchen and

0:20:59.200 --> 0:21:02.800
<v Speaker 2>the whole the plays that took place in restaurants.

0:21:02.760 --> 0:21:04.560
<v Speaker 1>But in Skylight it's central.

0:21:04.600 --> 0:21:08.200
<v Speaker 2>It's central. Carrie describes making spaghetti bolonnaise, and then there's

0:21:08.240 --> 0:21:10.000
<v Speaker 2>the scene of the parmesan.

0:21:10.440 --> 0:21:13.600
<v Speaker 1>I'd just like to say that Carrie Mulligan's spaghetti bolinais,

0:21:13.600 --> 0:21:16.600
<v Speaker 1>which she had to make on stage every night, was

0:21:16.760 --> 0:21:17.760
<v Speaker 1>very very good.

0:21:17.560 --> 0:21:21.360
<v Speaker 2>Because she said that Stephen director, right, Stephen Stephen directed it,

0:21:21.440 --> 0:21:24.560
<v Speaker 2>and that he and you brought a chef from North

0:21:24.640 --> 0:21:29.600
<v Speaker 2>London who made a fantastic spaghetti boloneis with sausage.

0:21:29.720 --> 0:21:34.639
<v Speaker 1>She came from Bologna and she said that the bolognaise

0:21:34.920 --> 0:21:37.280
<v Speaker 1>what like sausage in it? Do you think that's true?

0:21:37.440 --> 0:21:39.760
<v Speaker 2>I would not be surprised, but.

0:21:39.760 --> 0:21:42.760
<v Speaker 1>It was always an interesting test of the actress's performance.

0:21:43.440 --> 0:21:48.520
<v Speaker 1>Whether anybody ate their spaghetti bolonnaise in the interval, said,

0:21:49.320 --> 0:21:52.840
<v Speaker 1>some people who've played that part, you know you, frankly

0:21:53.240 --> 0:21:55.960
<v Speaker 1>in the in the interval would not necessarily want to

0:21:56.080 --> 0:21:59.320
<v Speaker 1>eat what they've cooked. But Carrie's was really good, and

0:21:59.359 --> 0:22:03.080
<v Speaker 1>people would out around in order to he cares.

0:22:03.560 --> 0:22:06.000
<v Speaker 2>She described it. She also said the garlic was sometimes

0:22:06.080 --> 0:22:08.240
<v Speaker 2>she had to be careful about eating too much garlic.

0:22:08.359 --> 0:22:10.800
<v Speaker 1>Yeah, because it's not very friendly to your fellow.

0:22:10.560 --> 0:22:12.760
<v Speaker 2>Act Let's just talk about the parmesan scene.

0:22:12.920 --> 0:22:15.280
<v Speaker 1>The parmazan cheese is just that it's a joke about

0:22:15.280 --> 0:22:17.959
<v Speaker 1>the fact that he's a businessman and he's a restauranteur.

0:22:18.440 --> 0:22:21.000
<v Speaker 1>He's got restaurants in the King's Road. He was not,

0:22:21.680 --> 0:22:24.119
<v Speaker 1>I hastened to add. And everybody said to me, is

0:22:24.160 --> 0:22:26.280
<v Speaker 1>this meant to be Terrence Conran? And I kept saying,

0:22:26.359 --> 0:22:28.359
<v Speaker 1>it is not meant to be Terrence Conran. I barely

0:22:28.400 --> 0:22:31.560
<v Speaker 1>know Terrence Conrine, but everyone said it at the time.

0:22:32.359 --> 0:22:35.240
<v Speaker 1>And because he was sort of famous for having restaurants

0:22:35.240 --> 0:22:39.600
<v Speaker 1>in the King's Road, I suppose, but he's munificent, so

0:22:39.680 --> 0:22:42.480
<v Speaker 1>he can't bear her little piece of parmesan he can't

0:22:42.520 --> 0:22:46.760
<v Speaker 1>bear sweaty piece of cheese wrapped in cellophane that she's

0:22:46.800 --> 0:22:49.119
<v Speaker 1>trying to put on top of her spaghetti. And so

0:22:49.240 --> 0:22:51.520
<v Speaker 1>he goes on and on about his supplies and stuff,

0:22:51.600 --> 0:22:53.080
<v Speaker 1>and they have an argument about it, and they also

0:22:53.080 --> 0:22:55.160
<v Speaker 1>have an argument about how to make spaghetti. Welln't it,

0:22:55.200 --> 0:22:56.640
<v Speaker 1>which is a contentious subject.

0:22:56.760 --> 0:22:58.720
<v Speaker 2>Is that something in your life that you would care

0:22:58.840 --> 0:23:01.280
<v Speaker 2>enough to have an argument someone about? Now?

0:23:01.440 --> 0:23:05.119
<v Speaker 1>No, And I also love Nicole's cooking, so I don't

0:23:05.119 --> 0:23:07.879
<v Speaker 1>interfere in Nicole's cooking. She doesn't interfere in mine. So

0:23:08.040 --> 0:23:10.720
<v Speaker 1>I have to say, be hopeless is entertaining.

0:23:10.880 --> 0:23:12.360
<v Speaker 2>And well, that's not what your guests say.

0:23:12.560 --> 0:23:16.760
<v Speaker 1>It's only because Nicole. She was giving dinner parties long

0:23:16.800 --> 0:23:19.919
<v Speaker 1>before I arrived. If I had not met her, I

0:23:19.920 --> 0:23:23.919
<v Speaker 1>would not be giving dinner parties. I'm extremely shy, and

0:23:23.960 --> 0:23:26.240
<v Speaker 1>the only way I get over my shyness is by

0:23:26.960 --> 0:23:28.360
<v Speaker 1>riding on her coattails.

0:23:28.359 --> 0:23:32.159
<v Speaker 2>Well, okay, I'll let you're tough it out with Fiona Golfer,

0:23:32.200 --> 0:23:35.520
<v Speaker 2>who said that it was her quote about being a

0:23:35.600 --> 0:23:38.040
<v Speaker 2>theatrical experience coming to your house for dinner.

0:23:38.280 --> 0:23:41.640
<v Speaker 1>No, it's true that she is. She is a great hostess.

0:23:41.680 --> 0:23:43.879
<v Speaker 1>So all I do is floating her weight only.

0:23:43.760 --> 0:23:45.720
<v Speaker 2>About being shy that you say that I would not

0:23:45.880 --> 0:23:47.359
<v Speaker 2>know that about you, and you might not know that

0:23:47.440 --> 0:23:50.320
<v Speaker 2>about me, because of course where I'm out there, but

0:23:50.359 --> 0:23:53.920
<v Speaker 2>there is a real you. And I stand outside sometimes

0:23:54.119 --> 0:23:56.359
<v Speaker 2>didnner party, think do I actually want to go in?

0:23:56.560 --> 0:24:01.880
<v Speaker 1>You know, I've spent hours in the car parties, and

0:24:02.560 --> 0:24:06.160
<v Speaker 1>you know, a dreading going in, and I certainly hate

0:24:06.240 --> 0:24:08.480
<v Speaker 1>listening to the audience at my plays.

0:24:08.800 --> 0:24:10.480
<v Speaker 2>Tell me about that. What do you mean listening to that?

0:24:10.600 --> 0:24:13.320
<v Speaker 1>Well, I mean that hearing their comments, I have absolutely

0:24:13.359 --> 0:24:15.680
<v Speaker 1>no sense. You know. When I see a playwright standing

0:24:15.720 --> 0:24:21.720
<v Speaker 1>in the fobby, in the lobby greeting the I'm absolutely

0:24:21.760 --> 0:24:26.199
<v Speaker 1>amazed at there. And I have friends who don't have

0:24:26.320 --> 0:24:29.040
<v Speaker 1>any nerves at all. You know, Christopher Hampton, who's a

0:24:29.040 --> 0:24:33.320
<v Speaker 1>great friend of mine, sits at his plays with a

0:24:33.359 --> 0:24:36.520
<v Speaker 1>sort of beam on his face of how well everything

0:24:36.560 --> 0:24:41.440
<v Speaker 1>is going. Whereas I'm carving in terror and certainly run

0:24:41.480 --> 0:24:45.000
<v Speaker 1>as fast as i can before I overhear terrible things, which.

0:24:44.800 --> 0:24:47.440
<v Speaker 2>The playwright, by the way, always wonder whether you would

0:24:47.440 --> 0:24:49.919
<v Speaker 2>hear the terrible things. But you're missing the good things,

0:24:50.000 --> 0:24:52.320
<v Speaker 2>you know, You're assuming that they're going to say terrible things.

0:24:52.359 --> 0:24:53.080
<v Speaker 2>But no.

0:24:53.280 --> 0:24:55.280
<v Speaker 1>Very early on I wrote a play and I heard

0:24:55.280 --> 0:24:59.159
<v Speaker 1>a man and he was leaving and his wife was

0:24:59.200 --> 0:25:02.679
<v Speaker 1>just putting her around him and saying, I'm sorry, darling.

0:25:02.760 --> 0:25:07.800
<v Speaker 1>That was my idea. I've never since then. And he

0:25:07.920 --> 0:25:09.760
<v Speaker 1>was going, it's all right, I don't mind, I don't mind.

0:25:10.040 --> 0:25:12.400
<v Speaker 1>We just wasted the evening. It was like that, And

0:25:12.480 --> 0:25:13.840
<v Speaker 1>so you just don't listen.

0:25:14.040 --> 0:25:16.080
<v Speaker 2>Yeah, Well, in the River Cafe, because we have an

0:25:16.080 --> 0:25:19.439
<v Speaker 2>open kitchen. When I'm cooking, what I do is I

0:25:19.440 --> 0:25:24.040
<v Speaker 2>can see, you know, you can just see somebody's face.

0:25:24.119 --> 0:25:26.439
<v Speaker 2>You can see how you know they they taste something,

0:25:26.440 --> 0:25:28.680
<v Speaker 2>and then they look at their person next to them,

0:25:28.840 --> 0:25:31.280
<v Speaker 2>and you think, what do they say? Are they saying

0:25:31.320 --> 0:25:33.600
<v Speaker 2>if they say taste this, you know you can see

0:25:33.600 --> 0:25:36.680
<v Speaker 2>them say, and then if they nod their head yes,

0:25:36.720 --> 0:25:40.000
<v Speaker 2>so they nod their head no, or they beyond being

0:25:40.080 --> 0:25:43.840
<v Speaker 2>hurt by it. No, I'm completely devastated. Yeah, no, I

0:25:43.880 --> 0:25:47.080
<v Speaker 2>think I think I have a part of me is like, well,

0:25:47.119 --> 0:25:48.960
<v Speaker 2>I know this was good, so why don't they.

0:25:48.920 --> 0:25:51.440
<v Speaker 1>Because one of the things that said to me most

0:25:51.480 --> 0:25:54.840
<v Speaker 1>that I find completely incomprehensible, They say to me, oh,

0:25:54.880 --> 0:25:57.520
<v Speaker 1>you still care do you. Oh yeah, and that as

0:25:57.600 --> 0:26:01.720
<v Speaker 1>if you Oh my goodness, I didn't think you'd be nervous.

0:26:02.080 --> 0:26:04.119
<v Speaker 1>Oh but you've written so many plays. How can you

0:26:04.160 --> 0:26:05.080
<v Speaker 1>possibly still be.

0:26:05.040 --> 0:26:06.360
<v Speaker 2>Nervous because you're so expected.

0:26:06.440 --> 0:26:09.919
<v Speaker 1>It's hard to explain you're more nervous now in my

0:26:10.040 --> 0:26:12.760
<v Speaker 1>seventies than I was in my twenties, because I think

0:26:12.800 --> 0:26:15.400
<v Speaker 1>when you're in your twenties, you've got a certain arrogance

0:26:15.560 --> 0:26:20.080
<v Speaker 1>about what what Anthony Hopkins used to call stuffing the

0:26:20.119 --> 0:26:25.240
<v Speaker 1>bastard down their throat. Other words, you just if you

0:26:25.240 --> 0:26:28.120
<v Speaker 1>don't like it. Stuff you used to be the attitude

0:26:28.320 --> 0:26:31.240
<v Speaker 1>when you're young. When you're older, it's it's harder to

0:26:31.280 --> 0:26:33.680
<v Speaker 1>have that punk attitude as a playwright.

0:26:33.720 --> 0:26:35.520
<v Speaker 2>And do you find that people sometimes feel they have

0:26:35.560 --> 0:26:38.919
<v Speaker 2>to tell you the truth? Oh? Yeah, Richard had that,

0:26:38.960 --> 0:26:40.520
<v Speaker 2>you know. I just think you should know that that

0:26:40.680 --> 0:26:43.320
<v Speaker 2>last building, oh disappointing.

0:26:43.720 --> 0:26:46.320
<v Speaker 1>People can't wait to tell you how disappointed they've been

0:26:46.520 --> 0:26:49.840
<v Speaker 1>with your latest work. And it's and I listened to

0:26:49.920 --> 0:26:53.560
<v Speaker 1>it in complete mystery. I'm not aware that I go

0:26:53.760 --> 0:26:55.360
<v Speaker 1>up I would never go up to you and say

0:26:55.400 --> 0:26:58.240
<v Speaker 1>I had a really terrible evening at the River Cafe.

0:26:58.840 --> 0:27:00.680
<v Speaker 1>Just regard rude.

0:27:00.880 --> 0:27:02.960
<v Speaker 2>I had somebody wrote to me the other day that say,

0:27:03.520 --> 0:27:06.439
<v Speaker 2>I had a fantastic lunch at the River Cafe, and

0:27:06.440 --> 0:27:08.480
<v Speaker 2>it was so good because the last few times I've

0:27:08.480 --> 0:27:10.160
<v Speaker 2>been quite disappointing.

0:27:10.560 --> 0:27:15.080
<v Speaker 1>Okay, exactly exactly, the kicking, the compliments.

0:27:15.600 --> 0:27:18.359
<v Speaker 2>But then who do you live? Because I sometimes the

0:27:18.359 --> 0:27:21.239
<v Speaker 2>people I wanted I want Back to Richard, I said, well,

0:27:21.280 --> 0:27:25.480
<v Speaker 2>who do you want criticism, honest criticism from? Would it

0:27:25.560 --> 0:27:28.760
<v Speaker 2>be another architect? Would it be? And he basically said,

0:27:28.840 --> 0:27:31.439
<v Speaker 2>the people I work with. Yes, it's the people who

0:27:31.520 --> 0:27:34.040
<v Speaker 2>you actually in the room working on it. You know.

0:27:34.240 --> 0:27:36.359
<v Speaker 2>With that I will tell you and then you listen.

0:27:36.480 --> 0:27:39.280
<v Speaker 1>I think that's what actors are doing, if the actors

0:27:39.280 --> 0:27:41.240
<v Speaker 1>are any good. I mean, the whole point of choosing

0:27:41.280 --> 0:27:44.840
<v Speaker 1>to work in a collaborative form is collaboration. And so

0:27:45.040 --> 0:27:48.040
<v Speaker 1>I'm not a novelist. I've written some poetry, but it's

0:27:48.080 --> 0:27:51.040
<v Speaker 1>a sideline. I've always worked in collaborative form.

0:27:51.080 --> 0:27:53.679
<v Speaker 2>That's again similar, because that's right, and.

0:27:53.560 --> 0:27:58.199
<v Speaker 1>What the actors are doing is putting intense scrutiny on

0:27:58.240 --> 0:28:01.680
<v Speaker 1>your work so that the chances are that they will

0:28:01.760 --> 0:28:05.680
<v Speaker 1>examine the work from one point of view you and

0:28:06.000 --> 0:28:09.040
<v Speaker 1>which you may not have considered as deeply from each

0:28:09.119 --> 0:28:11.720
<v Speaker 1>point of view as they do, and they say, if

0:28:11.760 --> 0:28:13.880
<v Speaker 1>I say that in that scene, why am I doing

0:28:13.920 --> 0:28:16.520
<v Speaker 1>that in that scene? How does that make sense? And

0:28:16.560 --> 0:28:18.760
<v Speaker 1>you are crazy if you don't listen to them. There

0:28:18.760 --> 0:28:22.119
<v Speaker 1>are certain authors, I'm afraid to say, who are too

0:28:22.280 --> 0:28:24.720
<v Speaker 1>arrogant to listen to the actors. And there are also

0:28:24.720 --> 0:28:27.240
<v Speaker 1>people who think that actors are always self interested and

0:28:27.240 --> 0:28:29.560
<v Speaker 1>it's always about, oh, my part will be that I

0:28:30.080 --> 0:28:32.160
<v Speaker 1>have a speech, my part will be better. But when

0:28:32.200 --> 0:28:36.280
<v Speaker 1>you're dealing with great actors, which is been my fortune

0:28:36.320 --> 0:28:39.840
<v Speaker 1>in life, you are crazy not to listen to them.

0:28:39.960 --> 0:28:43.560
<v Speaker 1>And you're also crazy not to respond to them when

0:28:43.600 --> 0:28:47.400
<v Speaker 1>they need something, because they sense that they need something.

0:28:47.840 --> 0:28:50.960
<v Speaker 1>There was a wonderful A wonderful example was when I

0:28:51.000 --> 0:28:55.080
<v Speaker 1>wrote Skylight and we were rehearsing it and Michael Gamban

0:28:55.160 --> 0:28:57.320
<v Speaker 1>said this wonderful thing to me, where he said, you know,

0:28:57.360 --> 0:29:00.640
<v Speaker 1>I've been on stage for two hours and I've got

0:29:00.640 --> 0:29:02.600
<v Speaker 1>a feeling that when I go to the dressing room

0:29:03.080 --> 0:29:05.000
<v Speaker 1>at the end of playing this play, I'm going to

0:29:05.000 --> 0:29:07.960
<v Speaker 1>be very miserable and depressed. He said, could you just

0:29:08.000 --> 0:29:10.080
<v Speaker 1>give me a line to get me out of this play.

0:29:12.440 --> 0:29:15.320
<v Speaker 1>Such a beautiful note. And I gave him a last

0:29:15.360 --> 0:29:18.959
<v Speaker 1>line before he left, and he just read it and

0:29:18.960 --> 0:29:23.080
<v Speaker 1>he went fantastic. Now I will enjoy the evening after

0:29:23.560 --> 0:29:24.320
<v Speaker 1>the play.

0:29:24.400 --> 0:29:26.680
<v Speaker 2>But I wonder how many writers would do that.

0:29:27.000 --> 0:29:30.040
<v Speaker 1>That's a great note. A note like that from an

0:29:30.080 --> 0:29:33.360
<v Speaker 1>actor like Gambit, It's inspiring.

0:29:33.520 --> 0:29:35.200
<v Speaker 2>I left a meeting the other day in New York

0:29:35.320 --> 0:29:38.920
<v Speaker 2>and I was with It was about television and working together,

0:29:38.960 --> 0:29:41.280
<v Speaker 2>and I was with this woman who's just very high

0:29:41.360 --> 0:29:44.120
<v Speaker 2>up in the station. We had a long meeting of

0:29:44.120 --> 0:29:46.120
<v Speaker 2>about an hour and it was you know. And when

0:29:46.120 --> 0:29:48.080
<v Speaker 2>I left, I said, can I just ask you something?

0:29:48.320 --> 0:29:50.200
<v Speaker 2>She said, yes, Ruthie, what do you want to ask me?

0:29:50.240 --> 0:29:52.520
<v Speaker 2>I said, well, everybody's going to ask me how the

0:29:52.560 --> 0:29:54.160
<v Speaker 2>meeting went. Can you tell me how it went.

0:29:56.080 --> 0:29:58.120
<v Speaker 1>I try to give I try to give the actor

0:29:58.160 --> 0:30:01.920
<v Speaker 1>an enjoyable evening. When I started, I used to write

0:30:02.000 --> 0:30:07.000
<v Speaker 1>characters called barman or policeman, and that was somebody who

0:30:07.120 --> 0:30:10.239
<v Speaker 1>was in for an evening that was completely unrewarding. They

0:30:10.240 --> 0:30:12.160
<v Speaker 1>were going to walk onto the stage for two minutes

0:30:12.480 --> 0:30:15.520
<v Speaker 1>and say yes sir, or can I get you another scotch?

0:30:15.920 --> 0:30:18.240
<v Speaker 1>And you've got to think of it from the actor's

0:30:18.280 --> 0:30:20.520
<v Speaker 1>point of view about what a miserable evening that is

0:30:20.560 --> 0:30:23.200
<v Speaker 1>for an actor. And I try to make every part

0:30:23.320 --> 0:30:27.720
<v Speaker 1>worth playing, and there is some point to playing the part,

0:30:27.840 --> 0:30:29.920
<v Speaker 1>and there's something, even if it's a small part, that

0:30:29.960 --> 0:30:33.240
<v Speaker 1>there's something there that is worth it for the actor.

0:30:33.520 --> 0:30:35.720
<v Speaker 1>And I've tried to do that and it makes for

0:30:35.760 --> 0:30:38.800
<v Speaker 1>a much stronger feeling to the evening. But I want

0:30:38.840 --> 0:30:40.680
<v Speaker 1>to tell I want to tell the one story about

0:30:40.760 --> 0:30:44.360
<v Speaker 1>food and the performing arts, which is that I wrote Damage,

0:30:44.880 --> 0:30:48.480
<v Speaker 1>which was based on the Josephine Hart novel and was

0:30:48.520 --> 0:30:52.280
<v Speaker 1>directed by Louis mau who I adored and who to me,

0:30:52.520 --> 0:30:54.360
<v Speaker 1>was just one of the nicest people I ever met

0:30:54.360 --> 0:30:56.800
<v Speaker 1>in my life. And he also knew a lot about

0:30:56.800 --> 0:30:59.320
<v Speaker 1>food and loved good food. I think he came to

0:30:59.360 --> 0:31:03.200
<v Speaker 1>eas at your ask. It's a domestic drama, like a

0:31:03.200 --> 0:31:07.640
<v Speaker 1>Greek tragedy. And when I've finally written the script and

0:31:07.680 --> 0:31:11.200
<v Speaker 1>I sent him the script, he said to me, it

0:31:11.320 --> 0:31:14.720
<v Speaker 1>is everything that filmmakers hate most. And I said, what

0:31:14.760 --> 0:31:17.920
<v Speaker 1>do you mean. He said, your script is based around

0:31:18.000 --> 0:31:23.240
<v Speaker 1>seven meals and seven fucks, and the two things filmmakers

0:31:23.520 --> 0:31:27.880
<v Speaker 1>hate most are meal scenes and fuck scenes, and you've

0:31:27.880 --> 0:31:32.200
<v Speaker 1>offered me seven of each. That's very funny, And I said, yes,

0:31:32.240 --> 0:31:35.800
<v Speaker 1>that's how the thought is structure. He said, oh god,

0:31:35.960 --> 0:31:38.040
<v Speaker 1>I've got to think of new ways of doing both.

0:31:38.200 --> 0:31:40.560
<v Speaker 2>I remember the scene from Tom Jones, but that was

0:31:40.600 --> 0:31:43.360
<v Speaker 2>a great Yeah, but that's a great See. That's the

0:31:43.400 --> 0:31:44.360
<v Speaker 2>one that always.

0:31:44.680 --> 0:31:47.320
<v Speaker 1>Tom Jones is a brilliant, brilliant, beautiful. It's the best

0:31:47.320 --> 0:31:47.960
<v Speaker 1>food scene.

0:31:48.120 --> 0:31:49.200
<v Speaker 2>Yeah.

0:31:48.440 --> 0:31:51.560
<v Speaker 1>Yeah, And it's partly because the actors are so wonderful,

0:31:51.760 --> 0:31:54.920
<v Speaker 1>Albert Finny and Joyce Redmand. But what was so great

0:31:54.960 --> 0:31:57.560
<v Speaker 1>about it was you really believe they were eating it

0:31:57.720 --> 0:32:00.400
<v Speaker 1>and tasting it. And that's the mark of great actors

0:32:00.880 --> 0:32:03.400
<v Speaker 1>is they're actually doing the thing that they're meant to

0:32:03.400 --> 0:32:06.840
<v Speaker 1>be doing, Whereas usually on a film set, the food

0:32:06.920 --> 0:32:09.479
<v Speaker 1>is very tired and it's been around, and it's been

0:32:09.560 --> 0:32:13.120
<v Speaker 1>under the lights, and you know, people bring fresh but

0:32:13.960 --> 0:32:17.680
<v Speaker 1>there's very little sensual pleasure in a meal that you're filming,

0:32:18.200 --> 0:32:21.440
<v Speaker 1>whereas on Tom Jones, who really believed people are relishing

0:32:21.480 --> 0:32:22.240
<v Speaker 1>what they eating.

0:32:22.400 --> 0:32:24.880
<v Speaker 2>Since you talked about your mother, was she there for

0:32:24.920 --> 0:32:27.840
<v Speaker 2>your success as a playwright, She knew about it, she

0:32:27.920 --> 0:32:28.440
<v Speaker 2>shared it.

0:32:28.880 --> 0:32:33.480
<v Speaker 1>When she died, we found that she had kept a

0:32:33.520 --> 0:32:38.600
<v Speaker 1>clipping book about everything nice. And what's extraordinary is that

0:32:38.680 --> 0:32:42.520
<v Speaker 1>she was incredibly proud of my really worst reviews, and

0:32:42.800 --> 0:32:46.840
<v Speaker 1>in the clipping book would be appalling play by David

0:32:46.880 --> 0:32:50.680
<v Speaker 1>hare Right, terrible, a ghastly night at the theater. But

0:32:50.800 --> 0:32:53.920
<v Speaker 1>my mother didn't mind. She didn't mind because it meant

0:32:53.960 --> 0:32:57.880
<v Speaker 1>that I existed. And she would occasionally make some remark

0:32:58.080 --> 0:32:59.960
<v Speaker 1>like she'd say, I remember how one saying to me

0:33:00.720 --> 0:33:05.440
<v Speaker 1>that Bernard Levin he really doesn't like and I said, no,

0:33:05.560 --> 0:33:08.720
<v Speaker 1>he really doesn't like me. But nevertheless she kept all

0:33:08.800 --> 0:33:12.960
<v Speaker 1>Bernard Levin's appalling reviews. It was a very odd kind

0:33:13.000 --> 0:33:16.080
<v Speaker 1>of pride. It didn't worry how what was said. It

0:33:16.120 --> 0:33:19.040
<v Speaker 1>was just proof that I existed. She said, the most

0:33:19.080 --> 0:33:23.960
<v Speaker 1>wonderful thing about my first play, which was absolutely filthy.

0:33:24.120 --> 0:33:27.080
<v Speaker 1>I mean, it was just, you know, the language was filthy,

0:33:27.360 --> 0:33:31.120
<v Speaker 1>that there was a lot of sex references, there was

0:33:31.160 --> 0:33:34.640
<v Speaker 1>a lot of there was some sex between women, and

0:33:34.720 --> 0:33:38.480
<v Speaker 1>you know, it was really quite a difficult evening for

0:33:38.560 --> 0:33:41.600
<v Speaker 1>my parents, and my mother's most gracious way of dealing

0:33:41.640 --> 0:33:43.640
<v Speaker 1>with it was to say, at the end, she said,

0:33:44.240 --> 0:33:47.120
<v Speaker 1>well I enjoyed it very much, dear, though your father

0:33:47.200 --> 0:33:49.600
<v Speaker 1>having been in the Navy understood rather more of it

0:33:49.640 --> 0:33:50.120
<v Speaker 1>than I did.

0:33:51.680 --> 0:33:55.400
<v Speaker 2>I have my father. Do you remember the actor Eli Wallack. Yeah,

0:33:55.440 --> 0:33:57.920
<v Speaker 2>so my father was friends from Brooklyn. He grew up

0:33:57.960 --> 0:34:01.120
<v Speaker 2>with the Wallacks. Eli always played the role of the

0:34:01.160 --> 0:34:03.840
<v Speaker 2>bad guy. You know, he was like he certainly looked

0:34:03.880 --> 0:34:06.120
<v Speaker 2>like a bad guy, and he was in a lot

0:34:06.120 --> 0:34:08.919
<v Speaker 2>of Westerns. And so they would take his mother, who

0:34:08.960 --> 0:34:12.840
<v Speaker 2>was an immigrant from Russia or Hungry, into these movies.

0:34:13.160 --> 0:34:14.960
<v Speaker 2>And she came out of a movie once and she

0:34:15.040 --> 0:34:17.799
<v Speaker 2>said to her friend, I'm not going to any more

0:34:17.840 --> 0:34:21.239
<v Speaker 2>movies where people clap when Eli is killed. You know,

0:34:24.320 --> 0:34:27.200
<v Speaker 2>are you writing now? Are we allowed to ask you

0:34:27.239 --> 0:34:29.440
<v Speaker 2>that question? Somebody said, never ask it right of what

0:34:29.480 --> 0:34:32.080
<v Speaker 2>they're doing, or an actor what they're acting, what they're

0:34:32.440 --> 0:34:34.040
<v Speaker 2>John Osbourne, what did he say?

0:34:34.040 --> 0:34:37.239
<v Speaker 1>It was John Osbourne's famous line is nobody shas to

0:34:37.280 --> 0:34:39.880
<v Speaker 1>an accountant, done any interesting accounts late?

0:34:40.200 --> 0:34:41.440
<v Speaker 2>Yeah, that's true.

0:34:41.840 --> 0:34:44.440
<v Speaker 1>I've written three plays and I'm waiting for them to

0:34:44.480 --> 0:34:47.919
<v Speaker 1>go on good. It takes forever because people have lost

0:34:47.920 --> 0:34:52.560
<v Speaker 1>their nerve. There's a post COVID terror has Partly, of course,

0:34:52.719 --> 0:34:55.239
<v Speaker 1>the audience is not back for straight players in the

0:34:55.239 --> 0:34:59.520
<v Speaker 1>same numbers. Secondly, there is a sort of feeling that

0:34:59.600 --> 0:35:03.200
<v Speaker 1>nobody can quite knows what to do. And then thirdly,

0:35:03.200 --> 0:35:06.200
<v Speaker 1>people are just moved to make it feel more like

0:35:06.239 --> 0:35:09.560
<v Speaker 1>the film industry, so that the idea that a writer

0:35:09.680 --> 0:35:12.480
<v Speaker 1>can just write a play and send it in and

0:35:12.520 --> 0:35:16.040
<v Speaker 1>will be ahead of taste when they do that. Now

0:35:16.040 --> 0:35:18.120
<v Speaker 1>it's like the film industry. The producer rings you up

0:35:18.120 --> 0:35:19.959
<v Speaker 1>and saying, will you write a play about such and such?

0:35:20.160 --> 0:35:22.000
<v Speaker 1>I've got this idea for a play, can you write

0:35:22.000 --> 0:35:25.640
<v Speaker 1>this for me? And that the whole beauty of the

0:35:25.640 --> 0:35:28.840
<v Speaker 1>theater was that it used to not be that, Whereas

0:35:28.840 --> 0:35:31.640
<v Speaker 1>I'm afraid now there's a television series, would you like

0:35:31.680 --> 0:35:34.000
<v Speaker 1>to write a play based on that television series? You know,

0:35:34.040 --> 0:35:36.640
<v Speaker 1>there's a musical? Would you like to write? And it's

0:35:36.680 --> 0:35:39.560
<v Speaker 1>people ringing you up saying will you do this? Whereas

0:35:39.560 --> 0:35:45.360
<v Speaker 1>the idea that a person, man, woman, child, whatever sits alone,

0:35:45.960 --> 0:35:49.400
<v Speaker 1>comes up with their own idea, sends it in and

0:35:49.480 --> 0:35:52.480
<v Speaker 1>you are excited to put it on that I'm afraid

0:35:52.640 --> 0:35:54.120
<v Speaker 1>is passing a little.

0:35:54.520 --> 0:35:57.839
<v Speaker 2>My last question to you is a question I ask

0:35:57.920 --> 0:36:00.160
<v Speaker 2>everyone on the podcast. If you had a food you

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<v Speaker 2>wanted for comfort, if you were in a situation where

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<v Speaker 2>you wanted something to eat that would make you feel happier, calmer, better.

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<v Speaker 2>Is there a comfort food that you go Would it

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<v Speaker 2>be the food that you grew up something from? Oh

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<v Speaker 2>what would it be?

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<v Speaker 1>I to do sol Monia?

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<v Speaker 2>Would you?

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<v Speaker 1>I think so monia. I've had it here actually quite recently.

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<v Speaker 1>It was fantastic.

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<v Speaker 2>Yeah. Yeah, we cook it in the wood oven.

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<v Speaker 1>Yeah, but you don't you don't do it in batter.

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<v Speaker 1>Do you do the soul, but you don't do the money?

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<v Speaker 1>The money. Yeah, that's the thing that makes you feel

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<v Speaker 1>that old is well with. I think sol monia that's

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<v Speaker 1>my death row meal.

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<v Speaker 2>Okay, well we're not dying. We're getting comfort and now

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<v Speaker 2>we're going to go and have it. We can have

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<v Speaker 2>it over so it might not be, but we can

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<v Speaker 2>make it any way you want. Thank you, David Hare,

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<v Speaker 2>thank you, it's good.

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<v Speaker 1>Thank you for listening to Ruthie's Table for in partnership

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<v Speaker 1>with Montclair