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Speaker 1: Dearest gentle reader, or I guess I should say listener,

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Speaker 1: welcome to I've never said this before with me, Tommy

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Speaker 1: Di Dario, thank you for entertaining me and letting me

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Speaker 1: say that iconic lady whistle doown phrase that we know

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Speaker 1: and we love. I am transporting us to the eighteen

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Speaker 1: hundreds because my guest today is the leading man of

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Speaker 1: Season four Bridgerton, mister Luke Thompson. The first four episodes

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Speaker 1: just dropped, and it's time to celebrate the story of

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Speaker 1: the newest Bridgerton boy, who is front and center trying

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Speaker 1: to sort out that journey to love. We've watched him

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Speaker 1: have some we'll say, free spirited adventures throughout the last

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Speaker 1: three seasons, and now we finally get to really learn

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Speaker 1: more about Benedict Bridgerton. But equally as exciting is that

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Speaker 1: we're learning more about Luke. What drives him, what excites him,

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Speaker 1: what worries him, and so much more. So Let's see

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Speaker 1: if today we can get Luke to say something that

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Speaker 1: he has never said before. Luke Thompson, how are you,

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Speaker 1: my man?

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Speaker 2: Really good? Thanks?

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Speaker 1: Yeah, I am so happy to have you here.

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Speaker 2: I'm really happy to be here.

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Speaker 1: Welcome to a snow in New York.

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Speaker 2: Thank you?

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Speaker 1: Are you living your best ram calm dreams? Bouncing around

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Speaker 1: the snow flicking?

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Speaker 2: Yeah, we actually took it. I had a flight, and

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Speaker 2: I took a flight an earlier flight to be able

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Speaker 2: to AID because I think they've probably been canceled otherwise.

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Speaker 2: But it was really great to be able to sit

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Speaker 2: in the hotel room and watch the snowfall. Yeah, it's

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Speaker 2: pretty pretty magical.

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Speaker 1: Yeah, I'm glad you're having a moment of peace because

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Speaker 1: I imagine there are not many of them right now.

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Speaker 1: When you're alive, I think.

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Speaker 2: You can find you know, you have to find them.

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Speaker 2: You have to ask for them. Yeah, I'm quite good

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Speaker 2: at asking for them. I'm not. I don't like chain

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Speaker 2: smoking things. I have to like have time to sit

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Speaker 2: and then carry on.

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Speaker 1: Good for you, Yeah, that's not always easy to do.

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Speaker 2: No, Well, yeah, it turns out you can ask.

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Speaker 1: Yeah, yeah, you feel like you can't, but you might

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Speaker 1: not always get the answer you want.

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Speaker 2: That's true, right, and then you move on? Yeah exactly

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Speaker 2: exactly on.

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Speaker 1: Okay, Well, because you are in this busy side, let's

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Speaker 1: have a zen moment for a second. If you could

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Speaker 1: have your perfect day from start to finish. What does

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Speaker 1: it look like for you?

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Speaker 2: Wow, that's a nice question. I'd definitely be doing a

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Speaker 2: play in the evenings. M M. I think I like

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Speaker 2: just just the cycle. When I'm doing a play, the

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Speaker 2: cycle of those days always so nice because you're sort

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Speaker 2: of in minor mode for the actual day, because you're

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Speaker 2: sort of having to save yourself up a little bit

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Speaker 2: for the evening, but you are sort of collecting things weirdly,

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Speaker 2: Like I always find it interesting in like in plays

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Speaker 2: like how You you sort of soak up the day

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Speaker 2: and then the day gets sort of almost processed through

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Speaker 2: the show in the evening. Like it's quite a nice

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Speaker 2: sort of little cycle. So in those days, like you

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Speaker 2: can sort of you know, you wake up quite late,

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Speaker 2: just go for a walk, see someone like their friend

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Speaker 2: or something, and just but just it's they're very low

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Speaker 2: key days, and then you get to do the show

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Speaker 2: in the evening and then you go to sleep quite late,

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Speaker 2: and then you start it all over again. I think

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Speaker 2: that would probably be my perfect day.

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Speaker 1: Happy places the stage Huh yeah, yeah, I mean I guess,

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Speaker 1: I guess acting is my happy place really in terms.

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Speaker 2: Of like, uh, you know, I I just yeah, it's

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Speaker 2: it's it's it's exactly where I like to be. I

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Speaker 2: feel like any sense of like nervousness or anything like

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Speaker 2: that is something I've experienced, like in real life rather

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Speaker 2: than on stage. It's funny, I actually yeah, yeah, I

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Speaker 2: actually feel like the happiest. I'm sort of like my

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Speaker 2: happiest on stage really or you know, in front of

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Speaker 2: a camera. I always think like it's because I think

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Speaker 2: I from a young age sort of spectate on myself

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Speaker 2: a lot. I mean I think a lot of people

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Speaker 2: do it, but I think there's something about performing where

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Speaker 2: you outsource the spectating on the other people, which means

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Speaker 2: that you don't have to watch yourself. Do you know

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Speaker 2: what I mean, you guess, or like being like okay,

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Speaker 2: well you guys can do the watching me and I

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Speaker 2: can just do what I need to do. So yeah, Weirdly,

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Speaker 2: it's a very quiet, like it's a very peaceful place

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Speaker 2: because I feel like it shuts down that that you know,

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Speaker 2: third eye, isn't it. That's called the sort of like

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Speaker 2: person that's you know, when you're looking at yourself.

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Speaker 1: Yeah, it's like you're less in your head for you

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Speaker 1: when you're performing versus when you're you.

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Speaker 2: Yeah, I mean, like you know, on stage, I guess

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Speaker 2: is an easier one because I started it earlier. I

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Speaker 2: think it's very difficult to have non professional experience of

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Speaker 2: screen in the same way that you can of stage.

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Speaker 2: I feel like actually doing this show like I've slowly

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Speaker 2: grown to love I mean, it's a very very different

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Speaker 2: way of working, but I've grown to love you know,

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Speaker 2: camera almost as much as a stage. I think that, Yeah,

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Speaker 2: there is still something about stage about you know, the

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Speaker 2: the the the instant communication. I think that's that's really satisfying.

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Speaker 2: I've almost I've noticed, actually I've started to over the

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Speaker 2: course of filming this season like tricked myself a little

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Speaker 2: bit by sort of imagining that the camera may is

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Speaker 2: this sort of wormhole through which there is actually an audience.

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Speaker 2: There is someone watching. It's just that it's happening in

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Speaker 2: a different in the future interesting, you know what I mean.

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Speaker 2: It's just to try and sort of like soften the

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Speaker 2: camera because it can feel like quite a sort of scary,

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Speaker 2: surgical thing, but actually, you know, there is someone watching,

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Speaker 2: it's not happening there. And then whereas you know on stage,

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Speaker 2: as it says, you can you can feel it it's there.

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Speaker 1: Well, now you are front and center in that camera

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Speaker 1: this season, man, I mean, this is your season, this

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Speaker 1: is your moment. Have you watched the other leading men

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Speaker 1: over the course of the three seasons and learned anything

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Speaker 1: from them or picked up anything as you step into

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Speaker 1: your hero moment?

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Speaker 2: Yeah, Loads, I mean I love, Yeah, I've had a

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Speaker 2: I mean a very privileged position really because I've been

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Speaker 2: able to, you know, very slowly get used to not

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Speaker 2: only screenwork, but also just the world of Bridgton and

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Speaker 2: how it works and all of that. And then also,

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Speaker 2: as you say, watch other people, it's such an unusual

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Speaker 2: show like that where you you know, there's not I

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Speaker 2: can't really think of another show where that which works

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Speaker 2: like that, where you don't have sort of you know,

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Speaker 2: you know, several characters all having storylines that thread through

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Speaker 2: four seasons. Actually it's like, no, now we're going to

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Speaker 2: focus on this character. And now we're going to focus

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Speaker 2: on this character like it's a proper it's and so

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Speaker 2: you get to see different people step up to the

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Speaker 2: mark every in every season. So yeah, I mean I

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Speaker 2: think that loads. I mean, what struck me though, more

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Speaker 2: than anything, is how different people are in that in

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Speaker 2: that role because the pressures are different, the actors are different,

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Speaker 2: and the things that maybe some actors will find difficult

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Speaker 2: about leading a show are not necessarily the things that

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Speaker 2: you'd find difficult. Like it's such a personal experience, I think,

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Speaker 2: And yeah, I feel very lucky as I was able

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Speaker 2: to watch and learn from, you know, the three previous leads,

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Speaker 2: but also realize that actually the only way I can

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Speaker 2: sort of do it is just do it myself and

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Speaker 2: my own way as much as possible, and sort of

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Speaker 2: make the mistakes and just go through it because no

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Speaker 2: one will know apart from me, what it's like having

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Speaker 2: me go through it. Do you know what I'm saying,

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Speaker 2: Like it's just you just sort of have to jump in.

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Speaker 1: Yeah, yeah, yeah. I always think it's good in any

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Speaker 1: profession to be inspired by those around you and you know,

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Speaker 1: kind of take in what you want to take in

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Speaker 1: from them, but also, like you said, have the courage

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Speaker 1: and bravery to go out and do something that's totally

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Speaker 1: your own.

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Speaker 2: Well yeah, only, Well, I guess it's like you can

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Speaker 2: learn loads. I mean, I remember doing a play years

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Speaker 2: ago and I was able to It was a part

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Speaker 2: where I was actually spending a lot of time just

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Speaker 2: sat watching and I had to watch these two actors

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Speaker 2: who played my parents in the show do these scenes.

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Speaker 2: And I feel like there are so many like just

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Speaker 2: watching them, so many pennies dropped from just watching them

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Speaker 2: do it that hadn't dropped when I was studying drama

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Speaker 2: at drama school. Like I remember, I suddenly remembered things

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Speaker 2: that I was told at drama school. But then until

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Speaker 2: you see them in action enacted by someone, you're like, oh,

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Speaker 2: that's what they were talking about. So yeah, I think

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Speaker 2: you do. You learn a lot. But then yeah, as

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Speaker 2: with everything, like I think acting fundamentally is expression, right,

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Speaker 2: and so if it's not personal, if it isn't completely

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Speaker 2: specific to you, it's sort of not really worth doing.

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Speaker 2: You know. That's sort of what people want to go

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Speaker 2: and watch. They want to watch something specific.

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Speaker 1: Yeah, I guess, yeah, one hundred percent. This series, I

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Speaker 1: don't have to tell you. It just took over the

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Speaker 1: world so rapidly, right twenty twenty, it just kind of

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Speaker 1: boom came out with the bang. Do you remember a

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Speaker 1: moment where you were like, Okay, I think this is

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Speaker 1: getting pretty big, Like did you have a personal moment

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Speaker 1: do you remember what that was Yeah.

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Speaker 2: I think it was so odd though, because it was

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Speaker 2: during the pandemic, so it was all quite strange to

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Speaker 2: sort of send anything because obviously, I think I don't

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Speaker 2: think we had a premiere for season one. I don't

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Speaker 2: believe like we didn't have any of that. So I

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Speaker 2: just remember doing an interview, I think, and I was

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Speaker 2: on a zoom call and I remember being in my

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Speaker 2: flat and putting the you know, switching the zoom call off,

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Speaker 2: and just I don't know why, if it was mentioned

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Speaker 2: or something, but suddenly sort of having this someone had

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Speaker 2: mentioned I think on the call, like you know, eighty

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Speaker 2: million people have watched this, and yeah, I was like,

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Speaker 2: that's ridiculous. So that's just sort of wild, and that's funny.

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Speaker 2: Like I don't think I expected it. I think I

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Speaker 2: always felt when we first started the show that the

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Speaker 2: makers of the show were eerily confident about it. And

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Speaker 2: you know, obviously, when you're talking about producers like Shondaland like,

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Speaker 2: you know, the best in the business, you're like, they

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Speaker 2: probably know what they're doing. But you know, as you say,

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Speaker 2: like it was sort of like before there was a

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Speaker 2: moment where Bridges wasn't a thing, and then suddenly it

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Speaker 2: was this whole thing and an esthetic in a world

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Speaker 2: and it's sort of before it was a thing. It

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Speaker 2: was weird to be in it because you know, when

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Speaker 2: we were like shooting those scenes, I was like, so

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Speaker 2: this is a period drama, but it's a bit modern

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Speaker 2: and you know, like that there's all sorts of like

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Speaker 2: different plates. It's spinning and is it going to work?

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Speaker 2: And obviously then that was before it was a thing.

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Speaker 2: And now I mean, I mean you can probably play someone,

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Speaker 2: I don't know, a string qortet piece, you know, in

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Speaker 2: a particular way, and you'd be like, oh, that's so Bridgeton. Yeah,

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Speaker 2: you know, and that's that's incredible, I think. Yeah, yeah,

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Speaker 2: to be part of that is yeah, very very strange.

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Speaker 1: Yeah. I mean, it's it's cemented, it's placed in pop

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Speaker 1: culture history, and for good reason. It brings so much

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Speaker 1: joy to so many people. And like I said earlier,

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Speaker 1: it's your time now, it's your moment now. So what's

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Speaker 1: excited you the most about stepping in as the lead Bridgerton?

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Speaker 2: I think the attention, but that sounds like weird. I

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Speaker 2: think what I mean by that is that again, you know,

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Speaker 2: to be in a show like you know, there are

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Speaker 2: so many shows out there now that not just shows,

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Speaker 2: there's so much content, there's so many things like pulling

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Speaker 2: up people's attention, and so to be in something that

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Speaker 2: actually commands that level of eyes on you or the

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Speaker 2: thing across the globe, you know, transcending you know, cultures, countries,

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Speaker 2: all of that. I mean, that's the dream for an actor.

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Speaker 2: Like it's not it's not about adulation. It's about attention.

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Speaker 2: Like you get to never did I think you know,

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Speaker 2: when you're doing a play or what you're performing to

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Speaker 2: maybe goodness, like twenty five if you go over a run,

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Speaker 2: I know, maybe twenty five thousand, maybe like one hundred

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Speaker 2: thousand if you're lucky, I don't know. Yeah, but if

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Speaker 2: you're talking millions, like eighty million people are going to

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Speaker 2: watch you do your thing, it's kind of yeah. I

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Speaker 2: mean that that's that's amazing. It's such a it's such

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Speaker 2: a gift to be able to do you know, to

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Speaker 2: be able to do that, particularly, I think in this

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Speaker 2: age when you know, our attention is so fragmented, actually

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Speaker 2: you know, we get to I get to step into

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Speaker 2: the middle of this thing. It's yeah, it's very very lucky.

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Speaker 1: Did anything intimidate you'll about exploring Benedict's character even more.

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Speaker 2: No, No, it didn't. I mean I think I was

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Speaker 2: just really excited to do it because I've had the

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Speaker 2: time to sort of be around Benedict for a while.

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Speaker 2: But I also think I the more I've done this job,

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Speaker 2: maybe you know, because I've been I don't know, my

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Speaker 2: first theater job was that I was twenty five, so

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Speaker 2: I've been doing it for a few years now, the

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Speaker 2: more you sort of think the more interesting stuff is

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Speaker 2: the stuff that you just that just comes out as in, like,

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Speaker 2: you know, I think the more I've done this job,

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Speaker 2: the more I sort of see it as the more

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Speaker 2: fun interesting part is the passive stuff, the stuff where

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Speaker 2: you're just letting stuff happen. Like I think I would

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Speaker 2: feel maybe anxious or worried or like, you know, concerned

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Speaker 2: if I really felt like I had to deliver something.

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Speaker 2: But I actually feel like when you know you're in

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Speaker 2: very good hands and you trust everyone around you, it's

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Speaker 2: the easiest job in the world because you just get

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Speaker 2: to live it and and just sort of like see

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Speaker 2: what they throw at you does to you, Like it's

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Speaker 2: much less sort of you know, I didn't feel like

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Speaker 2: I had to sort of deliver a perfect like I

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Speaker 2: don't know, gymnastic tumble or something. It just felt like

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Speaker 2: it was a process. It was like someone was saying, hey,

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Speaker 2: come and join on this huge like I don't know,

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Speaker 2: waterfall adventure, like it just sort of like go on it. So, no,

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Speaker 2: it's funny. That is not That is not a thing

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Speaker 2: I felt. But again, you know, acting is my happy place.

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Speaker 2: It's the place that i'm I don't feel worried or nervous.

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Speaker 1: I think, and something tells me you were ready to

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Speaker 1: dive into this character like you you were ready. It

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Speaker 1: was time. I mean, he's he's such an interesting character

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Speaker 1: that we're going to learn so much more about. He's

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Speaker 1: definitely more of a free spirit, right, Yeah, I would

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Speaker 1: say where is he in his life when we meet

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Speaker 1: him in the beginning of the season, in the first

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Speaker 1: few episodes of the season.

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Speaker 2: Well, it's funny because I feel like, you know, I mean,

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Speaker 2: the word people use is glow up about preseason, but

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Speaker 2: I actually think it's funny, Like I don't think. I

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Speaker 2: don't think ever the writers thought of it as glow ups,

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Speaker 2: but like the idea, for example, with season three with

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Speaker 2: Collins characters that he does that thing where he comes

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Speaker 2: back and he's slightly different and everyone's like, who's this guy,

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Speaker 2: and Benedict is the opposite. I think he got you

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Speaker 2: you you You start in episode one and he's absolutely

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Speaker 2: where we've left him, sort of stuck where where he

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Speaker 2: usually is and where he's sort of been, you know.

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Speaker 2: I mean, the phrase I think he uses with Eloise

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Speaker 2: at the end of season three is saying, you know,

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Speaker 2: I'll be I'll be there at Mother's masquerade ball, avoiding

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Speaker 2: debutantes like the plague, And that's exactly where we find him,

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Speaker 2: you know, sort of like showing up late, not really

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Speaker 2: wanting to be there. But I think a sort of

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Speaker 2: added sort of like slight tiredness setting in. I think

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Speaker 2: because he's been in this place of I guess, yeah,

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Speaker 2: he's been in this sort of place of as you say,

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Speaker 2: freedom for a while, and I think it's starting to

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Speaker 2: maybe not necessarily wear a little thin, but you can

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Speaker 2: sense that maybe now what at first feels like proper

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Speaker 2: exploration now feels like maybe he's avoiding something, you know,

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Speaker 2: And so yeah, it's it's it's interesting. I think it's

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Speaker 2: interesting because he he we've got such a clear flavor

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Speaker 2: of Benedict's so far of what he's like and so,

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Speaker 2: and it's his sort of customer facing side. It's his

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Speaker 2: very sort of like generous, sort of like love bombing

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Speaker 2: side that will just give everyone a little bit of

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Speaker 2: charm and whatever. But actually, if you do that generally,

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Speaker 2: how can you fall in love? Because you know, falling

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Speaker 2: in love is loving someone specifically, and actually, if you

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Speaker 2: give everyone the same love bomb, how can you actually

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Speaker 2: single someone out and be very specific about someone. So, yeah,

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Speaker 2: that's where we leave him. We leave him in a

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Speaker 2: sort we start with him, I think, in a sort

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Speaker 2: of place where he's like, oh, he's on this sort

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Speaker 2: of slight hamster wheel that he's been on for a while.

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Speaker 2: And that's the fun of doing a long form show, right,

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Speaker 2: which is at the start, I think it didn't feel

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Speaker 2: like a hamster wheel. At the start, you feel like, Wow,

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Speaker 2: this guy's just sort of you know, exploring and developing

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Speaker 2: and finding himself. And so I find it really interesting

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Speaker 2: that the opening you're like, oh, suddenly this has become

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Speaker 2: a bit of a cage. Yeah without him, mate, I

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Speaker 2: don't think I mean that gives him probably more self

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Speaker 2: awareness that he has like, I don't think he's necessarily

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Speaker 2: aware of that, but yeah, it's it's sort of like

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Speaker 2: quite an interesting place to find him. I sort of

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Speaker 2: stuck a little bit.

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Speaker 1: Yeah, there are a lot of layers of him. I

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Speaker 1: feel like as an actor must be fun to crack. Yeah,

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Speaker 1: And I think in other seasons we've seen him exploring

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Speaker 1: a sexuality, right and figuring out what am I? Possibly?

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Speaker 1: Am I bisexual and my parent sexual? I mean, what

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Speaker 1: am I? How do I identify? How important is that

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Speaker 1: for you informing that character in terms of understanding what

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Speaker 1: that sexuality is? And do do we see more of

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Speaker 1: that explored this season?

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Speaker 2: It's funny. Look, I think what's really refreshing about him

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Speaker 2: as a male character actually is that I think historically

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Speaker 2: maybe those stories do tend to be about repression and

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Speaker 2: about and you know, as that is a very valid

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Speaker 2: part of that story of you know, repression, anxiety and

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Speaker 2: angst about that kind of stuff, and again that sort

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Speaker 2: of angst of like finding out who you are. But

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Speaker 2: I think what's distinctive about Benedict, particularly as I say,

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Speaker 2: as a male character, is that his sex, like I

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Speaker 2: even has to say sexuality is in like sex seems

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Speaker 2: to be this sort of force that he's sort of

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Speaker 2: you know, he's very comfortable exploring, and it doesn't feel

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Speaker 2: like it actually is a sort of matter of identity

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Speaker 2: for him, which is sort of quite striking, and that

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Speaker 2: actually it ends up being the sort of the things

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Speaker 2: that's maybe this sort of like constant exploration and curiosity

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Speaker 2: again is sort of the thing that's maybe stopping him

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Speaker 2: from encountering someone. You know. I absolutely think like he

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Speaker 2: could have ended up with a man. It just so

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Speaker 2: happened that it was Sophie, you know, And I think, yeah,

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Speaker 2: I appreciate that as a character because I think it's

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Speaker 2: quite refreshing to see someone tackle their sexuality in that

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Speaker 2: particular way, in a sort of it's nice to see

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Speaker 2: someone that it doesn't seem to bother that much, you know.

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Speaker 2: And that's not say that's everyone's experience, certainly not, but

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Speaker 2: it's nice to see that. I think it's a nice

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Speaker 2: change that it's definitely part of him, and I don't

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Speaker 2: think it's something he's trying to sort of, you know,

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Speaker 2: eras out of the way. I think it's just it

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Speaker 2: is the show is tackling tackling sex as it relates

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Speaker 2: to Benedict rather than you know, you know, giving that

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Speaker 2: sort of that sort of identity story, which is a

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Speaker 2: very valid story, but we have seen.

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Speaker 1: A lot of Yeah, and going back to him being

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Speaker 1: more of a free spirit, it makes total sense that

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Speaker 1: a label isn't necessary just seeing who he is.

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Speaker 2: Yeah, exactly, that's exactly that, And that's that's wonderful. I think,

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Speaker 2: like you know, there has been this very necessary moment

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Speaker 2: I think of you know, of celebrating labels actually and

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Speaker 2: celebrating all of that, and you know, everyone talks about

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Speaker 2: that time. I wouldn't it be great if like none

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Speaker 2: of it mattered. Well, like you I mean, those labels

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Speaker 2: weren't even necessary. And I think Benedict sort of inhabits

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Speaker 2: that place a little bit, which is quite interesting.

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Speaker 1: What do you think he wants the most? Is it love?

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Speaker 1: Is it freedom? Is it purpose? Oh?

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Speaker 2: Goodness, what a question. I think he wants to deep down,

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Speaker 2: I think he wants his life to means something. I

390
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Speaker 2: think he wants his life to mean something, and and

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Speaker 2: I think that's what motivated the sort of like exploration

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Speaker 2: to start with, to be like, oh, I feel like

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Speaker 2: I'm the second son, but I don't know what that means.

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Speaker 2: I don't know what that means for me. Really, I

395
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Speaker 2: don't know how where I fit in in the world.

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Speaker 2: I think the problem is that he, yes, he's sort

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Speaker 2: of like gotten lost, I think down that route of

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Speaker 2: just exploring, and I think, deep down, I think there

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Speaker 2: is a huge part of him, as with any of us,

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Speaker 2: that does want to just actually stare life in the face,

401
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Speaker 2: you know, and be like right, and you know a

402
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Speaker 2: lot of the process of his character, like you know,

403
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Speaker 2: we talk a lot about, you know, his idea of

404
00:20:42,680 --> 00:20:44,679
Speaker 2: a loving relationship is his mum and dad, and his

405
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Speaker 2: dad died very young and then he had to watch

406
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Speaker 2: his mum mourn him. So you know, he hasn't got

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Speaker 2: a shining example of what I mean. In some ways

408
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Speaker 2: it is shining, but it's quite a scary example of

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Speaker 2: like losing you know, losing the one you love, losing everything,

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Speaker 2: And so I think that put him on a slight

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Speaker 2: course of deferral and just like, oh, let's not worry

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Speaker 2: about that because that's too scary. But I do think

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Speaker 2: deep down and it's it's really familiar. I think I

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Speaker 2: know a lot of people like that who are like

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Speaker 2: I really want to be in my life I really

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Speaker 2: want to live my life, but I and I really

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Speaker 2: wanted to begin, but I don't know how to step

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Speaker 2: into it. And yeah, I particularly I think today where

419
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Speaker 2: they you know, you have this illusion of so much

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Speaker 2: choice and so much opportunity or you know, particularly when

421
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Speaker 2: it comes to love and dating apps and all of that,

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Speaker 2: and actually, you know, it's that it is it's that

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Speaker 2: desire like, oh, I want my life to begin, and

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Speaker 2: you're waiting for someone to tap you on the shoulder

425
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Speaker 2: and say it began when you were born. There's there's

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Speaker 2: no there's no rehearsal, there's no preparation time. It's happening

427
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Speaker 2: and soon it will be over. So make some decisions

428
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Speaker 2: and like you know, take like just just put everything together,

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Speaker 2: you know, don't spend too much time like deferring and deferring.

430
00:21:58,880 --> 00:22:03,200
Speaker 1: I think it funny how, especially as we all get older,

431
00:22:04,160 --> 00:22:07,200
Speaker 1: we sometimes have to fight for being present and being

432
00:22:07,200 --> 00:22:11,880
Speaker 1: in those moments and not letting life take us out

433
00:22:11,880 --> 00:22:13,800
Speaker 1: of where we want to be. Right. It's like to

434
00:22:13,840 --> 00:22:17,160
Speaker 1: your point, like we're living, let's live, let's go exactly.

435
00:22:17,359 --> 00:22:20,240
Speaker 2: Yeah. Yeah, but that's both scary because I think in

436
00:22:20,359 --> 00:22:23,199
Speaker 2: order to do that, you have to face reality in

437
00:22:23,280 --> 00:22:26,000
Speaker 2: order to really live. And I don't think that's been

438
00:22:26,040 --> 00:22:28,159
Speaker 2: Adic's strong point. I think somewhere he does want to,

439
00:22:28,200 --> 00:22:30,600
Speaker 2: but he's also scared of it. Yeah, you know, and

440
00:22:30,880 --> 00:22:33,400
Speaker 2: I think that's that's his struggle.

441
00:22:33,440 --> 00:22:37,880
Speaker 1: I think you bring a lot of emotional intelligence and

442
00:22:38,240 --> 00:22:41,399
Speaker 1: vulnerability to this role. It's very obvious talking to you

443
00:22:41,480 --> 00:22:44,320
Speaker 1: and how you speak about him so eloquently, and it's

444
00:22:44,480 --> 00:22:46,240
Speaker 1: apparent he means a lot to you.

445
00:22:46,840 --> 00:22:51,440
Speaker 2: Yeah, yeah, yeah, he does. I mean it's funny. I think,

446
00:22:51,520 --> 00:22:56,679
Speaker 2: like what's lovely about the character and playing a character

447
00:22:56,720 --> 00:23:00,320
Speaker 2: like that for years is that you get surprised, you know,

448
00:23:00,400 --> 00:23:03,399
Speaker 2: Like I remember, way back to the first scene that

449
00:23:03,400 --> 00:23:05,879
Speaker 2: I did of his some way, he says, you know,

450
00:23:05,880 --> 00:23:09,800
Speaker 2: I feel like I didn't fit in, and I was like,

451
00:23:09,880 --> 00:23:12,160
Speaker 2: never did. I Like, it's such a surprise the way

452
00:23:12,240 --> 00:23:14,640
Speaker 2: this season, the direction this season takes him. I didn't

453
00:23:14,640 --> 00:23:16,919
Speaker 2: think that would be his story at all, not in

454
00:23:16,960 --> 00:23:19,600
Speaker 2: a sort of like, I mean, I didn't really necessarily

455
00:23:19,600 --> 00:23:21,240
Speaker 2: have a clear idea of what his story would be.

456
00:23:21,320 --> 00:23:26,240
Speaker 2: But it's very surprising, I think, and I think, I

457
00:23:26,240 --> 00:23:29,560
Speaker 2: think what I really enjoy about it in terms of

458
00:23:29,600 --> 00:23:32,840
Speaker 2: creating playing a character like that, is that if you

459
00:23:32,880 --> 00:23:35,159
Speaker 2: play a character for long enough, you get to do things,

460
00:23:35,640 --> 00:23:38,439
Speaker 2: which is when the exciting bits, which is when people

461
00:23:38,480 --> 00:23:40,920
Speaker 2: act out of character. I think there are quite a

462
00:23:40,960 --> 00:23:44,320
Speaker 2: few moments in this season where Benedict is something which

463
00:23:44,359 --> 00:23:47,520
Speaker 2: we would consider to be completely out of character. And

464
00:23:48,400 --> 00:23:50,760
Speaker 2: that's really fun to play for a start, because it's

465
00:23:50,800 --> 00:23:53,560
Speaker 2: fun to play a surprise and like feel people be

466
00:23:53,600 --> 00:23:56,080
Speaker 2: like what and sort of like blindside them a bit.

467
00:23:56,600 --> 00:24:01,000
Speaker 2: But also I think it's interesting because yeah, just those

468
00:24:01,000 --> 00:24:03,439
Speaker 2: moments when when you act out of character are the

469
00:24:03,440 --> 00:24:09,359
Speaker 2: most interesting moments. And I feel like we in fiction

470
00:24:09,480 --> 00:24:11,639
Speaker 2: we like to think that that characters are sort of

471
00:24:11,800 --> 00:24:15,639
Speaker 2: perfectly psychologically consistent, and actually you're like, no, they're inconsistent,

472
00:24:15,720 --> 00:24:19,480
Speaker 2: like we are, Like the contradiction is where the interesting

473
00:24:19,480 --> 00:24:24,040
Speaker 2: stuff is, right, and so getting to sort of yeah,

474
00:24:24,080 --> 00:24:26,719
Speaker 2: And you know, it's that classic thing of you hear

475
00:24:26,760 --> 00:24:30,800
Speaker 2: about actors, you know, in whatever a situation or context,

476
00:24:30,800 --> 00:24:33,320
Speaker 2: saying oh, my character wouldn't do that, And you know,

477
00:24:33,400 --> 00:24:35,920
Speaker 2: I understand the context for that, and I understand how

478
00:24:36,000 --> 00:24:38,399
Speaker 2: that thought can pop into your head. But often as

479
00:24:38,440 --> 00:24:40,480
Speaker 2: an actor, I think it's much more useful to sort

480
00:24:40,480 --> 00:24:43,159
Speaker 2: of think, Okay, so how am I how does he

481
00:24:43,240 --> 00:24:45,359
Speaker 2: do that? Rather than like, Oh, he wouldn't do that,

482
00:24:45,400 --> 00:24:48,119
Speaker 2: You're like, okay, okay, maybe I didn't know him as

483
00:24:48,240 --> 00:24:50,080
Speaker 2: well as I thought I knew him, you know. I

484
00:24:50,320 --> 00:24:52,359
Speaker 2: think there's this myth that like, oh, you know everything

485
00:24:52,359 --> 00:24:55,440
Speaker 2: about a character, but you can't. You can't know any

486
00:24:55,600 --> 00:24:57,840
Speaker 2: You can't know everything about anything, right, you know? And

487
00:24:57,880 --> 00:25:01,520
Speaker 2: so actually it's really excited. I think the reason why

488
00:25:01,560 --> 00:25:05,800
Speaker 2: I'm really fond of the character is that in some

489
00:25:05,840 --> 00:25:07,239
Speaker 2: way I sort of feel like I'll never quite get

490
00:25:07,280 --> 00:25:09,360
Speaker 2: to the bottom of it, do you know what I mean?

491
00:25:09,640 --> 00:25:12,080
Speaker 1: That keeps it fun and juicy and get right. For

492
00:25:12,280 --> 00:25:14,159
Speaker 1: as much as you know about him, there's still things

493
00:25:14,200 --> 00:25:16,800
Speaker 1: you're still trying to learn and understand, which, yeah, that's

494
00:25:16,920 --> 00:25:20,880
Speaker 1: that's the human experience. That's what's so fine. Do you think, Well,

495
00:25:20,960 --> 00:25:22,720
Speaker 1: let me put it this way, because you know him

496
00:25:22,720 --> 00:25:25,720
Speaker 1: so well, what would it be a modern day job

497
00:25:25,760 --> 00:25:28,280
Speaker 1: you think he would have? Besides painter or artists and

498
00:25:28,520 --> 00:25:31,879
Speaker 1: those are not acceptable? Yeah, something else interesting?

499
00:25:33,320 --> 00:25:35,159
Speaker 2: I think it would be something I think he'd like

500
00:25:35,200 --> 00:25:38,880
Speaker 2: to Can I have musician? Is that fair?

501
00:25:40,400 --> 00:25:40,480
Speaker 1: No?

502
00:25:40,640 --> 00:25:45,800
Speaker 2: I can't know. I'm not allowed to adjacent, Yeah, I

503
00:25:45,800 --> 00:25:48,520
Speaker 2: feel like it would be something I don't know why,

504
00:25:48,920 --> 00:25:52,560
Speaker 2: Like waiter is popping into okay, I don't know why.

505
00:25:52,680 --> 00:25:56,879
Speaker 2: I think there's something about the sort of the likeness.

506
00:25:56,880 --> 00:25:58,760
Speaker 2: There's a lightness to that job. You know, you're sort

507
00:25:58,760 --> 00:26:00,640
Speaker 2: of like you give someone that experience and then it's

508
00:26:00,640 --> 00:26:03,080
Speaker 2: on to the next person. And I think that is

509
00:26:03,119 --> 00:26:06,000
Speaker 2: what he's like a little bit. They say, you go, waiter,

510
00:26:06,200 --> 00:26:07,880
Speaker 2: didn't know that, But that's what I'm saying.

511
00:26:07,760 --> 00:26:09,520
Speaker 1: All right. I like that. Yeah that could be a

512
00:26:09,520 --> 00:26:11,359
Speaker 1: great spinner. Yeah he'd be very good.

513
00:26:11,400 --> 00:26:13,399
Speaker 2: He'd be a very good waiter though, as in, like,

514
00:26:13,560 --> 00:26:16,720
Speaker 2: you know, very professional, very professional, and very good at

515
00:26:17,440 --> 00:26:20,240
Speaker 2: you know, the whole etiquette of it. Yeah, that could.

516
00:26:20,080 --> 00:26:22,640
Speaker 1: Be really interesting. That could be a good That could

517
00:26:22,640 --> 00:26:24,399
Speaker 1: be good. I'm here for it. I'm really here for it.

518
00:26:24,600 --> 00:26:27,520
Speaker 1: I think that the romance genre is having a moment, right,

519
00:26:27,760 --> 00:26:31,920
Speaker 1: So for you, does romance require something different than other

520
00:26:32,040 --> 00:26:35,240
Speaker 1: genres and more of a vulnerability, more of a side

521
00:26:35,240 --> 00:26:36,880
Speaker 1: to yourself that you have to show that you don't

522
00:26:36,880 --> 00:26:37,960
Speaker 1: show on other genres.

523
00:26:39,640 --> 00:26:42,320
Speaker 2: I think, like with any genre, I think the tricky

524
00:26:42,359 --> 00:26:46,960
Speaker 2: bits is making the codes of the of the genre,

525
00:26:47,040 --> 00:26:49,280
Speaker 2: which feels sort of like, you know, imposed from on

526
00:26:49,400 --> 00:26:52,879
Speaker 2: high as in, like you know, like if you're I mean,

527
00:26:52,920 --> 00:26:54,520
Speaker 2: I can't really think of an example, but you know,

528
00:26:54,640 --> 00:26:58,119
Speaker 2: like there are certain expectations of what romance is and

529
00:26:58,160 --> 00:27:02,480
Speaker 2: how romance works, and it's about honoring those expectations but

530
00:27:02,520 --> 00:27:06,080
Speaker 2: also filling them in as far as they fit the character.

531
00:27:06,119 --> 00:27:10,400
Speaker 2: I think, what's in you know? So the the interesting

532
00:27:10,440 --> 00:27:12,639
Speaker 2: thing I think is like taking a character like Benedict,

533
00:27:12,720 --> 00:27:18,919
Speaker 2: is that he's sort of I was, I was very

534
00:27:19,000 --> 00:27:22,400
Speaker 2: keen souci that how is he a romantic hero? Because

535
00:27:22,440 --> 00:27:24,639
Speaker 2: he's someone who so far we've seen very comfortable with

536
00:27:24,680 --> 00:27:27,639
Speaker 2: the periphery, But how is how is it? You know,

537
00:27:27,640 --> 00:27:29,560
Speaker 2: how are we going to hit all the marks that

538
00:27:29,840 --> 00:27:32,919
Speaker 2: romance need to deliver but let them feel also very

539
00:27:32,960 --> 00:27:36,160
Speaker 2: specific and not generic. I think if that makes sense.

540
00:27:36,680 --> 00:27:39,520
Speaker 2: So it's more, Yeah, it's more that it's just taking

541
00:27:39,560 --> 00:27:43,200
Speaker 2: whatever those codes are and making sure that they're hit,

542
00:27:43,840 --> 00:27:47,800
Speaker 2: but also that they're filled with individuality and originality within

543
00:27:47,920 --> 00:27:51,119
Speaker 2: that that makes sense of the character as well, and

544
00:27:51,160 --> 00:27:54,040
Speaker 2: like how he would do that rather than oh, this

545
00:27:54,080 --> 00:27:55,840
Speaker 2: is the bit where I have to take my top off,

546
00:27:55,880 --> 00:27:57,560
Speaker 2: and this is the bit where I have to do

547
00:27:57,600 --> 00:27:59,240
Speaker 2: this sex scene, and this is the bit where I

548
00:27:59,240 --> 00:28:00,840
Speaker 2: have to, you know, it's sort of like it's not

549
00:28:00,960 --> 00:28:04,600
Speaker 2: denying those things, but it's filling them, you know, with

550
00:28:04,920 --> 00:28:08,600
Speaker 2: something individual in the world. And that feels right for yeah,

551
00:28:08,720 --> 00:28:10,160
Speaker 2: for that, for that character.

552
00:28:10,560 --> 00:28:15,160
Speaker 1: Is there a scene or a moment in this part

553
00:28:15,400 --> 00:28:17,239
Speaker 1: or even the next part that you can think of

554
00:28:17,280 --> 00:28:20,240
Speaker 1: that you believe fans are going to lose their minds

555
00:28:21,000 --> 00:28:21,800
Speaker 1: with your character?

556
00:28:22,080 --> 00:28:24,320
Speaker 2: Oh god, I mean you never know, do you never

557
00:28:24,359 --> 00:28:25,480
Speaker 2: know what they're going to latch onto?

558
00:28:27,760 --> 00:28:28,119
Speaker 1: Hmmm?

559
00:28:29,640 --> 00:28:32,240
Speaker 2: I mean the lake scenes very charming. Okay, I think

560
00:28:32,280 --> 00:28:34,199
Speaker 2: there's something about the lake scene. I also like it

561
00:28:34,280 --> 00:28:36,440
Speaker 2: was so beautiful that day. It's such a beautifully film

562
00:28:36,520 --> 00:28:39,200
Speaker 2: scene and it's again it's actually a very good example

563
00:28:39,200 --> 00:28:42,320
Speaker 2: of that, you know, like you know, someone taking a

564
00:28:42,320 --> 00:28:44,600
Speaker 2: swim in the lake, like that's that is a sort

565
00:28:44,640 --> 00:28:47,040
Speaker 2: of like such a romance trope somehow, Like you know,

566
00:28:47,160 --> 00:28:51,280
Speaker 2: everyone's seen Bride and Prejudice and all of that. So

567
00:28:51,320 --> 00:28:53,680
Speaker 2: it's that perfect thing that Bridge Dinner think does so well,

568
00:28:53,720 --> 00:28:57,400
Speaker 2: which is to bring that trope in but also to

569
00:28:57,840 --> 00:29:02,080
Speaker 2: you know, make it feel specific personal, and I think,

570
00:29:02,120 --> 00:29:06,080
Speaker 2: I yeah, they have lots of conversations about water, funny enough,

571
00:29:06,080 --> 00:29:09,600
Speaker 2: but added it's quite appropriate that there's there's lakes, and

572
00:29:09,640 --> 00:29:12,720
Speaker 2: there's later on maybe some water in different form which

573
00:29:12,720 --> 00:29:17,400
Speaker 2: I can't talk about, but yeah, yeah, I think maybe

574
00:29:17,400 --> 00:29:20,040
Speaker 2: the lake scene. It's also it's in the book, do

575
00:29:20,080 --> 00:29:21,520
Speaker 2: you know. It's one of those ones that like is

576
00:29:21,560 --> 00:29:24,000
Speaker 2: in the book, and you know, I mean Pride and

577
00:29:24,000 --> 00:29:26,160
Speaker 2: Prejudice was a few years ago now, so the new

578
00:29:26,240 --> 00:29:28,920
Speaker 2: generation need need another one.

579
00:29:29,040 --> 00:29:31,600
Speaker 1: Yeah. Yeah. Do you feel the romance when you're doing

580
00:29:31,640 --> 00:29:33,560
Speaker 1: it or is it just so technical you're like, it's

581
00:29:34,120 --> 00:29:36,360
Speaker 1: does it feel romantic for you?

582
00:29:36,440 --> 00:29:39,120
Speaker 2: Like this this is from it it's freezing? Yeah, right,

583
00:29:39,320 --> 00:29:41,560
Speaker 2: but it is, Yeah, yeah, I think you do? You do?

584
00:29:41,600 --> 00:29:45,760
Speaker 2: You you're sort of con I mean the scene I

585
00:29:45,760 --> 00:29:47,840
Speaker 2: actually thought when you said that was the first scene

586
00:29:47,840 --> 00:29:49,400
Speaker 2: they meet, like you know that sort of like love

587
00:29:49,440 --> 00:29:52,240
Speaker 2: at first sight tripe. It's wonderful to be able to

588
00:29:52,240 --> 00:29:54,200
Speaker 2: play that because when does that happen in real life?

589
00:29:54,240 --> 00:29:56,560
Speaker 2: You know, like and it's it's it's quite a particular

590
00:29:56,600 --> 00:30:01,680
Speaker 2: thing that sort of like that premonition of meeting someone,

591
00:30:01,680 --> 00:30:04,000
Speaker 2: So of course you get I mean, that's your job.

592
00:30:04,160 --> 00:30:07,400
Speaker 2: Your job is to get swept up in it. Actually,

593
00:30:07,520 --> 00:30:10,320
Speaker 2: you know, there's obviously there's a whole technical side but

594
00:30:10,560 --> 00:30:15,000
Speaker 2: it's both. You know, you're the part that I think

595
00:30:15,560 --> 00:30:18,200
Speaker 2: the job is best expressed I think as something that,

596
00:30:18,320 --> 00:30:22,240
Speaker 2: like you, is incredibly technical, and it's how many technical

597
00:30:23,440 --> 00:30:26,160
Speaker 2: bars can be put in your way and still you

598
00:30:26,240 --> 00:30:28,480
Speaker 2: can get swept up in it.

599
00:30:28,720 --> 00:30:29,239
Speaker 1: Yeah, you know.

600
00:30:29,360 --> 00:30:31,760
Speaker 2: I think that's the challenge of acting on screen. I

601
00:30:31,760 --> 00:30:33,520
Speaker 2: think because it's so technical.

602
00:30:33,720 --> 00:30:37,480
Speaker 1: And people really expect that romance with Bridgerton, right, It's

603
00:30:37,600 --> 00:30:41,720
Speaker 1: become known to be the show with such extreme passion

604
00:30:41,920 --> 00:30:47,360
Speaker 1: and sexiness and just ferocious intensity. So as an actor,

605
00:30:47,400 --> 00:30:50,320
Speaker 1: how do you form that with your co star? Besides intimacy,

606
00:30:50,360 --> 00:30:54,120
Speaker 1: coordinators and the technical side, which is very important, but

607
00:30:54,240 --> 00:30:56,360
Speaker 1: how do you build that with your co star?

608
00:30:57,760 --> 00:30:59,280
Speaker 2: I don't want to sound good, but you just do

609
00:30:59,400 --> 00:31:02,640
Speaker 2: see enough to see enoughter scene and something builds Like

610
00:31:02,680 --> 00:31:07,160
Speaker 2: I don't it's not something I'm not very methodical, and

611
00:31:07,240 --> 00:31:10,520
Speaker 2: I don't necessarily believe that if we had done loads

612
00:31:10,560 --> 00:31:16,920
Speaker 2: of exercises, you know, for example, that would necessarily have helped.

613
00:31:17,000 --> 00:31:22,400
Speaker 2: I think the problem. Yeah, that's often the challenge with acting,

614
00:31:22,440 --> 00:31:26,320
Speaker 2: I think is like how do you get the How

615
00:31:26,360 --> 00:31:29,440
Speaker 2: do you get because I remember like being at drama

616
00:31:29,480 --> 00:31:32,480
Speaker 2: school and doing lots of exercises and feeling like they

617
00:31:32,520 --> 00:31:34,880
Speaker 2: were very exciting and emotional, and like you felt like

618
00:31:34,920 --> 00:31:38,080
Speaker 2: you sort of like had like all this emotion, but

619
00:31:38,560 --> 00:31:40,640
Speaker 2: feel was like an improvisation, say, and then you did

620
00:31:40,640 --> 00:31:42,040
Speaker 2: the scene and you're like, oh, I didn't feel the

621
00:31:42,040 --> 00:31:44,120
Speaker 2: same with the actual words from the play, and it's

622
00:31:44,160 --> 00:31:46,400
Speaker 2: like the challenges like how do you get that intensity

623
00:31:46,640 --> 00:31:49,480
Speaker 2: into this bit? And I feel like you it's same

624
00:31:49,560 --> 00:31:52,000
Speaker 2: like with exercises, I feel like they can create a

625
00:31:52,000 --> 00:31:55,239
Speaker 2: bit of intensity, but then it's very difficult to then

626
00:31:55,360 --> 00:31:58,240
Speaker 2: pour that into the words and the scene. It's like

627
00:31:58,240 --> 00:31:59,960
Speaker 2: you're sort of left being like, Okay, I've got this

628
00:32:00,200 --> 00:32:02,040
Speaker 2: emotion here and I've got the actual words here, and

629
00:32:02,080 --> 00:32:04,360
Speaker 2: I can't marry them. I think the only way you

630
00:32:04,400 --> 00:32:06,240
Speaker 2: marry them is you just say the words again and

631
00:32:06,280 --> 00:32:08,120
Speaker 2: again and again, and you run them again and again

632
00:32:08,160 --> 00:32:10,520
Speaker 2: and stuff starts happening, don't I don't think it's any

633
00:32:10,560 --> 00:32:15,200
Speaker 2: more work than that. I genuinely think like me and

634
00:32:15,240 --> 00:32:19,240
Speaker 2: Yerroen just just went on a little adventure together.

635
00:32:19,480 --> 00:32:21,600
Speaker 1: So you're not like, hey, here and let's go for

636
00:32:21,680 --> 00:32:24,360
Speaker 1: coffee and tell each other our deepest, darkest secrets before

637
00:32:24,400 --> 00:32:24,840
Speaker 1: we film.

638
00:32:25,000 --> 00:32:26,960
Speaker 2: No, it would be odd to do. I personally feel

639
00:32:27,000 --> 00:32:28,600
Speaker 2: that would be an odd thing to do on officially,

640
00:32:28,640 --> 00:32:33,000
Speaker 2: Like I think, yes, obviously as a byproduct while we're

641
00:32:33,760 --> 00:32:36,560
Speaker 2: you know, filming the show, obviously we do get to

642
00:32:36,640 --> 00:32:38,760
Speaker 2: know each other. And there is obviously this fascinating like

643
00:32:38,840 --> 00:32:42,560
Speaker 2: parallel story that happens between two actors as they're going,

644
00:32:42,600 --> 00:32:44,360
Speaker 2: you know, as they're sort of obviously getting to know

645
00:32:44,360 --> 00:32:48,120
Speaker 2: each other because they spend their time together. But I

646
00:32:48,480 --> 00:32:52,640
Speaker 2: don't know if that always is necessary to you know,

647
00:32:52,720 --> 00:32:56,760
Speaker 2: It's like Spike Milligan did this whole thing where it's

648
00:32:56,800 --> 00:32:59,000
Speaker 2: like I think it was, like I can't this is

649
00:32:59,040 --> 00:33:01,920
Speaker 2: a very distant memory, but there's something about like having

650
00:33:01,960 --> 00:33:05,120
Speaker 2: like a sock filled with custard and like the noise

651
00:33:05,160 --> 00:33:07,440
Speaker 2: that that makes, and then someone getting a sock filled

652
00:33:07,440 --> 00:33:10,040
Speaker 2: with custard and being and doing it, and then he's like, no,

653
00:33:10,120 --> 00:33:11,840
Speaker 2: that's not the noise. I want the noise of the

654
00:33:11,880 --> 00:33:13,840
Speaker 2: soccer past, and that's not the same as a sock

655
00:33:13,880 --> 00:33:17,680
Speaker 2: field with custard. And I think similarly, I think chemistry

656
00:33:17,760 --> 00:33:20,280
Speaker 2: in real life doesn't necessary. It doesn't doesn't work like

657
00:33:20,320 --> 00:33:22,120
Speaker 2: that like sometimes, you know, I when I did a

658
00:33:22,120 --> 00:33:26,880
Speaker 2: play I did a little life with with James Norton.

659
00:33:27,400 --> 00:33:29,320
Speaker 2: I mean, I feel like we and I don't think

660
00:33:29,400 --> 00:33:32,680
Speaker 2: like not not through you know, just because of the

661
00:33:32,680 --> 00:33:35,360
Speaker 2: intensity of the actual play. It really did sort of

662
00:33:35,440 --> 00:33:39,280
Speaker 2: like we didn't do that much talking or discussing around it,

663
00:33:39,360 --> 00:33:41,680
Speaker 2: and I actually think sometimes the talking and the discussing

664
00:33:41,720 --> 00:33:44,800
Speaker 2: destroys it. I think the magic about two actors doing

665
00:33:44,800 --> 00:33:46,640
Speaker 2: a scene together is that you don't tell each other

666
00:33:46,640 --> 00:33:48,240
Speaker 2: what you're gonna do, and you don't tell each other

667
00:33:48,240 --> 00:33:51,600
Speaker 2: what you think, and you're not trying to artificially create something.

668
00:33:52,200 --> 00:33:55,160
Speaker 2: You hold stuff back you and also you live in

669
00:33:55,200 --> 00:33:58,880
Speaker 2: this weird bubble, you know. And I guess all I'm

670
00:33:58,920 --> 00:34:02,720
Speaker 2: saying is that chemistry in real life is a lovely bonus,

671
00:34:02,840 --> 00:34:04,400
Speaker 2: Like it's lovely that I get on with your own,

672
00:34:04,360 --> 00:34:06,120
Speaker 2: and I do get on with your own. But it's

673
00:34:06,200 --> 00:34:12,960
Speaker 2: not a prerequisite to having chemistry in imagine circumstances. And

674
00:34:13,000 --> 00:34:15,480
Speaker 2: that's what's so great about acting, you know, is that

675
00:34:15,640 --> 00:34:18,360
Speaker 2: you know you don't you're not limited by your experience.

676
00:34:18,440 --> 00:34:21,520
Speaker 2: You can go out there and not you find something

677
00:34:21,560 --> 00:34:25,920
Speaker 2: completely different in this sort of like fantasy bubble that

678
00:34:25,960 --> 00:34:27,600
Speaker 2: you couldn't even necessarily find in life.

679
00:34:27,640 --> 00:34:30,840
Speaker 1: Well, however, you guys have formed your chemistry. It's working

680
00:34:30,920 --> 00:34:33,560
Speaker 1: because the small amount of clips that have been released

681
00:34:33,560 --> 00:34:37,120
Speaker 1: prior to the season dropping, yeah, has made the Internet

682
00:34:37,880 --> 00:34:40,600
Speaker 1: go on fire. Like they they are like, oh my god,

683
00:34:40,680 --> 00:34:45,080
Speaker 1: their looks, they are chemistry, the emotional vulnerability like it is.

684
00:34:45,200 --> 00:34:48,960
Speaker 1: People are ready, ready like. And I think there's such

685
00:34:49,000 --> 00:34:52,560
Speaker 1: a resurgence in the romance genre too, Like for many years,

686
00:34:52,600 --> 00:34:55,839
Speaker 1: I don't think it was taken as seriously prior to

687
00:34:56,040 --> 00:34:59,120
Speaker 1: the pandemic, and you know, years before, and then it

688
00:34:59,239 --> 00:35:02,120
Speaker 1: started becoming more desired and people started craving it and

689
00:35:02,239 --> 00:35:04,040
Speaker 1: wanting it right, and we're seeing this now with so

690
00:35:04,080 --> 00:35:07,800
Speaker 1: many other shows. Why do you think people just want

691
00:35:07,800 --> 00:35:08,960
Speaker 1: it and crave it?

692
00:35:09,760 --> 00:35:12,719
Speaker 2: I think it's funny. I feel like shakespeare plays get

693
00:35:12,760 --> 00:35:15,920
Speaker 2: that treatment everyone talks about, like the serious tragedies and

694
00:35:15,960 --> 00:35:18,000
Speaker 2: the comedies are seen as just a bit more lightweight.

695
00:35:18,200 --> 00:35:20,480
Speaker 2: That's just because they're romantic comedies and they deal about

696
00:35:20,480 --> 00:35:22,759
Speaker 2: deal with love, and you're like, love is just as

697
00:35:22,800 --> 00:35:26,239
Speaker 2: profound and probably more universal the murder and all the

698
00:35:26,280 --> 00:35:28,720
Speaker 2: things that happen in the tragedies. But for some reason,

699
00:35:28,760 --> 00:35:31,680
Speaker 2: we sort of there's something about it. Maybe it's misogyny

700
00:35:31,880 --> 00:35:33,719
Speaker 2: partly I think people sort of see it as like, oh,

701
00:35:33,800 --> 00:35:36,960
Speaker 2: that's not serious, that's emotions and we want to do

702
00:35:37,040 --> 00:35:39,799
Speaker 2: you know, stuff that's meaningful is about conflict and war

703
00:35:39,960 --> 00:35:41,880
Speaker 2: and all that kind of stuff. I don't know, So

704
00:35:42,080 --> 00:35:45,520
Speaker 2: I don't know. Maybe there is an element of misogyny

705
00:35:45,560 --> 00:35:48,280
Speaker 2: that actually because actually I always find that with shakespeare

706
00:35:48,280 --> 00:35:51,359
Speaker 2: play's it's interesting that I always I'm like, there are

707
00:35:51,520 --> 00:35:53,680
Speaker 2: loads of amazing female parts. It's just that a lot

708
00:35:53,680 --> 00:35:55,759
Speaker 2: of them are in the romantic comedies and they're not

709
00:35:55,800 --> 00:35:59,319
Speaker 2: necessarily taken as seriously. But it's such a I mean,

710
00:35:59,640 --> 00:36:02,600
Speaker 2: it's a serious subjects like that, and it's so much

711
00:36:02,640 --> 00:36:04,839
Speaker 2: more universal. The one thing that people think about is

712
00:36:05,719 --> 00:36:07,960
Speaker 2: that's important in life, you could argue is like love

713
00:36:08,000 --> 00:36:10,839
Speaker 2: and falling in love. So I think we're desperate for

714
00:36:11,920 --> 00:36:16,960
Speaker 2: stories that explore that and and unashamedly explore that as well.

715
00:36:17,000 --> 00:36:22,279
Speaker 2: I think, like I think I can often feel maybe

716
00:36:22,280 --> 00:36:24,440
Speaker 2: I used to feel that maybe sort of felt like

717
00:36:24,480 --> 00:36:28,120
Speaker 2: that genre was a bit silly or sentimental or light.

718
00:36:28,960 --> 00:36:32,120
Speaker 2: And I love that I'm in a show that's proven

719
00:36:32,160 --> 00:36:35,800
Speaker 2: that actually it has I mean, it has huge weight,

720
00:36:35,880 --> 00:36:38,879
Speaker 2: like Bridgeton has such weight, and it's so present in

721
00:36:39,680 --> 00:36:42,600
Speaker 2: the culture, and I'm like, yeah, it proves the point.

722
00:36:42,719 --> 00:36:45,799
Speaker 2: Actually people are desperate for that and maybe you've always been,

723
00:36:45,800 --> 00:36:48,680
Speaker 2: and it's just really good that finally people are honoring

724
00:36:48,760 --> 00:36:50,799
Speaker 2: that first that people have for it.

725
00:36:56,800 --> 00:36:59,919
Speaker 1: I don't know many other shows that when a seasoned dry,

726
00:37:00,320 --> 00:37:04,000
Speaker 1: it is the only thing I see everywhere. I really don't.

727
00:37:04,040 --> 00:37:06,799
Speaker 1: I mean British in every season. It's time and time again,

728
00:37:06,880 --> 00:37:11,560
Speaker 1: it's everywhere when this comes out, and I don't know,

729
00:37:11,600 --> 00:37:14,759
Speaker 1: I can't think of I guess another heated rivalry maybe

730
00:37:14,840 --> 00:37:17,640
Speaker 1: is the other one. But like, these two shows are

731
00:37:17,640 --> 00:37:20,960
Speaker 1: what people talk about time and time again. And I

732
00:37:20,960 --> 00:37:23,640
Speaker 1: think it's because of everything you just said. It's such

733
00:37:23,640 --> 00:37:28,280
Speaker 1: a desired story that people now take so seriously on want.

734
00:37:28,239 --> 00:37:30,080
Speaker 2: And also this, I think there's something in the heart

735
00:37:30,160 --> 00:37:32,319
Speaker 2: of It's true of energy genre, but I think it's

736
00:37:32,320 --> 00:37:34,759
Speaker 2: particularly true of Romance that it's the escapism of it.

737
00:37:34,760 --> 00:37:38,640
Speaker 2: It's the you know, I think the world is not

738
00:37:38,840 --> 00:37:41,840
Speaker 2: it's quite a complicated place and stressful place to be

739
00:37:41,960 --> 00:37:45,680
Speaker 2: in at the moment. However, you are positioning yourself in

740
00:37:45,680 --> 00:37:48,880
Speaker 2: relation to it, and so you know, people want just

741
00:37:49,960 --> 00:37:52,560
Speaker 2: you know, they also they want to live a little

742
00:37:52,560 --> 00:37:53,960
Speaker 2: bit in dreamland as well.

743
00:37:53,760 --> 00:37:53,840
Speaker 1: And.

744
00:37:55,960 --> 00:38:01,719
Speaker 2: Talk about things that actually make us feel warm and connected,

745
00:38:01,800 --> 00:38:06,120
Speaker 2: and that is romance in a nutshell, right, Yeah, yeah, you.

746
00:38:06,040 --> 00:38:08,279
Speaker 1: Know it's funny. I'm sitting here smiling because I keep

747
00:38:08,320 --> 00:38:11,600
Speaker 1: referencing how this is everywhere and I've seen you all

748
00:38:11,680 --> 00:38:14,680
Speaker 1: over my timelines and you're giving your looks to your

749
00:38:14,719 --> 00:38:16,919
Speaker 1: co star and all of it, but you don't see

750
00:38:16,920 --> 00:38:19,040
Speaker 1: any of it because you're not on social media. I

751
00:38:19,080 --> 00:38:20,480
Speaker 1: don't know, so you've seen nothing.

752
00:38:20,800 --> 00:38:23,360
Speaker 2: No, well, well, well sometimes people show me.

753
00:38:23,400 --> 00:38:28,279
Speaker 1: Do you have a burner account? No ah? Interesting, Okay,

754
00:38:28,360 --> 00:38:30,279
Speaker 1: I'm going to leave that one right there and we

755
00:38:30,320 --> 00:38:34,080
Speaker 1: can we can interpret that as we please. But I

756
00:38:34,080 --> 00:38:37,160
Speaker 1: think that's really interesting to be leading a new season

757
00:38:37,200 --> 00:38:39,920
Speaker 1: of the show very much reliant on social media and

758
00:38:40,000 --> 00:38:43,440
Speaker 1: you're not an active participant on it. Is that something

759
00:38:43,440 --> 00:38:46,760
Speaker 1: you've chosen earlier in your career? Have you felt pressure

760
00:38:46,800 --> 00:38:49,120
Speaker 1: to do the social media pressure?

761
00:38:49,360 --> 00:38:53,360
Speaker 2: I've been I've been lucky in that. I feel like

762
00:38:54,480 --> 00:38:56,759
Speaker 2: if I was going to use social media as a

763
00:38:56,800 --> 00:38:59,319
Speaker 2: way to sort of you know, get ahead, or like,

764
00:38:59,400 --> 00:39:01,839
Speaker 2: you know, get get I mean, I don't know how

765
00:39:01,960 --> 00:39:05,880
Speaker 2: that would necessarily work, but you know, but I'm just

766
00:39:05,960 --> 00:39:08,320
Speaker 2: lucky that I was in the show, I'm in this show,

767
00:39:08,719 --> 00:39:11,799
Speaker 2: and that this show has a huge reach, and so

768
00:39:11,840 --> 00:39:14,399
Speaker 2: I don't, you know, in a certain way, partly feel

769
00:39:14,400 --> 00:39:17,880
Speaker 2: sometimes I don't have to do it, So there's that element.

770
00:39:18,280 --> 00:39:23,719
Speaker 2: But then I also think I don't I feel like

771
00:39:24,040 --> 00:39:27,000
Speaker 2: acting is such a game for me anyway, of what

772
00:39:27,080 --> 00:39:30,520
Speaker 2: you choose to reveal and what you choose to hide.

773
00:39:30,719 --> 00:39:34,719
Speaker 2: And I think maybe not enough emphasis is put on

774
00:39:34,800 --> 00:39:37,080
Speaker 2: the hide bit because I think people sort of see

775
00:39:37,080 --> 00:39:40,280
Speaker 2: that as sort of maybe suspicious or something. But actually

776
00:39:40,960 --> 00:39:44,520
Speaker 2: I just think I have no interest in being a

777
00:39:44,560 --> 00:39:47,680
Speaker 2: real person to anyone else than the actual real people

778
00:39:47,719 --> 00:39:51,080
Speaker 2: in my life. And I just think, and you know,

779
00:39:51,160 --> 00:39:53,000
Speaker 2: to be fair, like social media, some of it's performance

780
00:39:53,040 --> 00:39:55,200
Speaker 2: as well, like it's not necessarily real, as in it's

781
00:39:55,200 --> 00:39:59,680
Speaker 2: not necessarily like, you know, people being real. But I just, yeah,

782
00:39:59,719 --> 00:40:02,799
Speaker 2: there's that element I think that I just want to

783
00:40:03,719 --> 00:40:09,200
Speaker 2: I have no interest really in people seeing me as

784
00:40:09,239 --> 00:40:12,520
Speaker 2: in the real me, whatever that is. And then alongside that,

785
00:40:12,840 --> 00:40:16,759
Speaker 2: I think part of me can't help hating those platforms

786
00:40:16,800 --> 00:40:19,040
Speaker 2: a little bit, which is tricky because you know, I'm

787
00:40:19,080 --> 00:40:21,440
Speaker 2: sure they bring lots of there's lots of positive that

788
00:40:21,440 --> 00:40:25,000
Speaker 2: they brought to two things. But I you know, they

789
00:40:26,080 --> 00:40:28,319
Speaker 2: take a sledge hammer to people's attention spans. I know

790
00:40:28,400 --> 00:40:29,920
Speaker 2: that's sort of like an obvious thing to say, but

791
00:40:29,960 --> 00:40:35,080
Speaker 2: it's true. And I even like just with my phone,

792
00:40:35,120 --> 00:40:38,400
Speaker 2: like I struggle to read a book now on occasion,

793
00:40:38,400 --> 00:40:41,319
Speaker 2: and I struggle to do anything with that. It's like

794
00:40:41,360 --> 00:40:44,560
Speaker 2: having like a very sort of needy presence that always

795
00:40:44,560 --> 00:40:47,200
Speaker 2: demanding your attention. This screen that's demanding your attention. And

796
00:40:48,400 --> 00:40:52,080
Speaker 2: I don't think I think it wipes I think all

797
00:40:52,120 --> 00:40:53,680
Speaker 2: sorts of things. I think it wipes your memory. I

798
00:40:53,719 --> 00:40:56,520
Speaker 2: actually think, like I have noticed that if I have

799
00:40:56,680 --> 00:40:58,480
Speaker 2: if I'm in a position where i'm having like a

800
00:40:58,600 --> 00:41:01,120
Speaker 2: if there's something interesting thing or difficult for me to

801
00:41:01,160 --> 00:41:04,319
Speaker 2: think about in my life, that's the moment when I

802
00:41:04,360 --> 00:41:05,960
Speaker 2: pick up my phone. And what my phone does is

803
00:41:06,000 --> 00:41:08,080
Speaker 2: it's like take It's like having a dummy. It like

804
00:41:08,160 --> 00:41:09,879
Speaker 2: just wipes your brain and you're like, yeah, you don't

805
00:41:09,880 --> 00:41:11,399
Speaker 2: have to think about any of that, and you can

806
00:41:11,520 --> 00:41:14,719
Speaker 2: spend your whole life doing that. And I'm scared of that.

807
00:41:15,320 --> 00:41:18,720
Speaker 2: And so all I'm saying is it's not about those

808
00:41:19,280 --> 00:41:21,799
Speaker 2: platforms per se. Maybe I think it's more like I'm

809
00:41:21,840 --> 00:41:26,640
Speaker 2: trying to regulate how I interact with this fucking screen. Yeah,

810
00:41:26,680 --> 00:41:29,839
Speaker 2: and so if I had a social media account of

811
00:41:29,880 --> 00:41:32,799
Speaker 2: any kind, like i'd have to it would be another

812
00:41:32,840 --> 00:41:35,759
Speaker 2: thing to sort of like keep tabs on. And the technology.

813
00:41:36,000 --> 00:41:38,960
Speaker 2: That technology is so powerful. I don't think i'd be

814
00:41:39,120 --> 00:41:43,200
Speaker 2: strong enough to to sort of resist it. I'd be

815
00:41:43,239 --> 00:41:45,480
Speaker 2: on it all the time, and I don't want I can't. Well,

816
00:41:45,520 --> 00:41:47,520
Speaker 2: I don't want to do that. Yeah, yeah, but it

817
00:41:47,560 --> 00:41:49,680
Speaker 2: really isn't sort of like you know, I know that

818
00:41:49,719 --> 00:41:52,880
Speaker 2: it's because I'm susceptible to it. It's not because I

819
00:41:52,920 --> 00:41:55,000
Speaker 2: think it's crap. Is that I think it's too powerful?

820
00:41:55,680 --> 00:41:59,080
Speaker 1: Yeah, well it's a really cool thing to know. Hey,

821
00:41:59,160 --> 00:42:01,560
Speaker 1: this won't be good for me in any sense of

822
00:42:01,600 --> 00:42:03,440
Speaker 1: what it does, So I'm just not going to do it.

823
00:42:03,480 --> 00:42:05,239
Speaker 1: I mean, I think it takes a strong person to

824
00:42:05,719 --> 00:42:07,719
Speaker 1: set that boundary. In the world we live in. It's

825
00:42:07,719 --> 00:42:10,399
Speaker 1: not easy, you know, it's so much as reliant on it,

826
00:42:10,400 --> 00:42:13,200
Speaker 1: it feels it feels whether that's true or not, it

827
00:42:13,239 --> 00:42:17,839
Speaker 1: feels right. So I think that's really interesting. If I

828
00:42:17,880 --> 00:42:23,839
Speaker 1: see some sort of account called LT four or five underscore,

829
00:42:24,000 --> 00:42:30,319
Speaker 1: I might be suspicious, I said, Okay, Okay, fair enough enough, Luke.

830
00:42:30,400 --> 00:42:33,879
Speaker 1: As we wrap up, and it's I hate saying because

831
00:42:33,880 --> 00:42:35,760
Speaker 1: I feel like I have three more hours of stuff

832
00:42:35,800 --> 00:42:38,160
Speaker 1: to talk to you about. But as we wrap up,

833
00:42:38,239 --> 00:42:40,959
Speaker 1: the show is called I've never said this before, and

834
00:42:41,160 --> 00:42:44,600
Speaker 1: I cover a lot of red carpets and junkets, which

835
00:42:44,600 --> 00:42:47,680
Speaker 1: you're no stranger too. And you know, you get three

836
00:42:47,719 --> 00:42:51,080
Speaker 1: minutes with somebody or four minutes. It's so quick. It's

837
00:42:52,200 --> 00:42:54,320
Speaker 1: very SoundBite driven. You get asked a lot of the

838
00:42:54,360 --> 00:42:57,040
Speaker 1: same questions because every outlet wants the same thing, right,

839
00:42:57,080 --> 00:42:59,520
Speaker 1: And I walked away one day being like, I'm very

840
00:42:59,520 --> 00:43:02,719
Speaker 1: grateful for that work, but I'm just not totally fulfilled.

841
00:43:04,440 --> 00:43:07,560
Speaker 1: So when this opportunity came up, I said, oh my god,

842
00:43:07,560 --> 00:43:09,359
Speaker 1: I create a long form show where I can really

843
00:43:09,400 --> 00:43:12,239
Speaker 1: talk to people. It's great, but I want them to

844
00:43:12,239 --> 00:43:14,359
Speaker 1: feel like they have a platform to say something they

845
00:43:14,360 --> 00:43:16,799
Speaker 1: don't always get to say, whatever it means to them.

846
00:43:17,040 --> 00:43:19,799
Speaker 1: It's not about revealing a deep, dark secret unless you

847
00:43:19,800 --> 00:43:22,280
Speaker 1: want to, but it's just about like, Hey, I've done

848
00:43:22,360 --> 00:43:25,719
Speaker 1: eight thousand interviews and I never have gotten to say this,

849
00:43:25,840 --> 00:43:27,640
Speaker 1: and I just want to say it. So is there

850
00:43:27,680 --> 00:43:30,520
Speaker 1: something you've never said before that you want to say today.

851
00:43:30,600 --> 00:43:32,600
Speaker 2: I'm really scared that you're going to think mine's a cheat.

852
00:43:33,640 --> 00:43:38,240
Speaker 2: Oh why genuinely when people, you know, because I heard

853
00:43:38,280 --> 00:43:41,600
Speaker 2: what you said earlier about the you know, red carpets thing,

854
00:43:41,840 --> 00:43:43,719
Speaker 2: red carpets thing of like you know, that thing that

855
00:43:43,760 --> 00:43:45,959
Speaker 2: you can see in people's eyes sometimes when you're asking

856
00:43:46,000 --> 00:43:51,400
Speaker 2: them questions. I would love to say nothing. I genuinely

857
00:43:51,760 --> 00:43:56,520
Speaker 2: like the the and I understand the interest and I

858
00:43:56,520 --> 00:43:58,719
Speaker 2: appreciate the question. It's not that I'm saying, oh, I

859
00:43:58,719 --> 00:44:01,920
Speaker 2: hate being questioned. Would just love to say nothing. I

860
00:44:01,960 --> 00:44:04,680
Speaker 2: think we're very good at talking a lot, a lot,

861
00:44:04,680 --> 00:44:09,560
Speaker 2: a lot, and I am and you know, I'm actually

862
00:44:09,560 --> 00:44:11,920
Speaker 2: really you know, even doing this press Stoll, Like you know,

863
00:44:11,960 --> 00:44:14,160
Speaker 2: it is a lot of sound bites and it's a

864
00:44:14,160 --> 00:44:16,400
Speaker 2: lot of talking, talking, talking. I'm very grateful for it,

865
00:44:16,400 --> 00:44:19,000
Speaker 2: and there's huge pleasure and to be found it and

866
00:44:19,040 --> 00:44:21,680
Speaker 2: like people work so hard to make it work, and like,

867
00:44:21,719 --> 00:44:26,480
Speaker 2: I love it. But I think sometimes I wish if

868
00:44:26,520 --> 00:44:29,000
Speaker 2: I was I don't know, if I was a younger actor,

869
00:44:30,640 --> 00:44:36,799
Speaker 2: i'd feel a pressure, I think, to be to sort

870
00:44:36,800 --> 00:44:40,200
Speaker 2: of reveal everything you know, and to and to talk

871
00:44:40,320 --> 00:44:42,200
Speaker 2: and to talk and to talk and to sort of

872
00:44:42,280 --> 00:44:45,680
Speaker 2: give everything away, partly through a fear of like, oh,

873
00:44:45,719 --> 00:44:47,319
Speaker 2: I must be honest, I must be authentic and I

874
00:44:47,360 --> 00:44:48,840
Speaker 2: must be real, and like if I'm hiding stuff and

875
00:44:48,920 --> 00:44:52,160
Speaker 2: my being, you know, am I being cagey or whatever?

876
00:44:52,719 --> 00:44:58,839
Speaker 2: And I'd like to, yeah, just make a I don't know.

877
00:45:00,120 --> 00:45:02,040
Speaker 2: I think i'd love someone to say to me, you

878
00:45:02,080 --> 00:45:07,680
Speaker 2: don't have to actually, and there's actually really good time

879
00:45:07,760 --> 00:45:10,200
Speaker 2: that there's timing for saying things as well. Like I

880
00:45:10,200 --> 00:45:11,719
Speaker 2: think you people sort think oh I must say I

881
00:45:11,800 --> 00:45:15,200
Speaker 2: must reveal everything about myself now, and look, hey, that's

882
00:45:15,239 --> 00:45:16,799
Speaker 2: the other thing. It works for some actors. You know,

883
00:45:16,800 --> 00:45:19,239
Speaker 2: some actors really like people to know who they are

884
00:45:19,360 --> 00:45:21,600
Speaker 2: and all power to them. I think that's you know,

885
00:45:21,760 --> 00:45:26,440
Speaker 2: that's incredible in its own right. But I think a

886
00:45:26,480 --> 00:45:29,239
Speaker 2: bit i'd like to make the case for you know,

887
00:45:29,400 --> 00:45:31,640
Speaker 2: it's actually good to hold stuff back, and that's not

888
00:45:31,719 --> 00:45:34,719
Speaker 2: to be secretive, and it's not to dismiss interest or

889
00:45:34,760 --> 00:45:36,320
Speaker 2: to sort of say I wish people would leave me alone.

890
00:45:36,880 --> 00:45:41,200
Speaker 2: It's actually like it's lovely to just I'd love on

891
00:45:41,280 --> 00:45:42,840
Speaker 2: the red carpet. If someone asked me a question, I

892
00:45:42,920 --> 00:45:49,000
Speaker 2: just got to just say nothing. I just think, like, yeah,

893
00:45:49,160 --> 00:45:50,800
Speaker 2: that's that's my honest answer.

894
00:45:51,040 --> 00:45:54,000
Speaker 1: Yeah, I think, yeah, I think that's that's interesting. You're

895
00:45:54,080 --> 00:45:57,279
Speaker 1: you're it's interesting because you're somebody who we've spoken now

896
00:45:57,320 --> 00:46:00,640
Speaker 1: for I don't know, almost an hour, and you've been

897
00:46:01,880 --> 00:46:07,600
Speaker 1: so engaging in such a participant, but in the ways

898
00:46:07,680 --> 00:46:10,239
Speaker 1: that make you feel good right, and that you want

899
00:46:10,239 --> 00:46:10,440
Speaker 1: to be.

900
00:46:10,560 --> 00:46:12,440
Speaker 2: It's choosing, I think that's what it is. I just

901
00:46:12,520 --> 00:46:15,839
Speaker 2: think that I know that if this had happened, all

902
00:46:15,880 --> 00:46:19,680
Speaker 2: this bridges and stuff when I was eighteen or nineteen,

903
00:46:21,280 --> 00:46:26,160
Speaker 2: I would have felt huge pressure and just external pressure,

904
00:46:26,160 --> 00:46:28,400
Speaker 2: not just from people like advising me, but just pressure

905
00:46:28,520 --> 00:46:32,919
Speaker 2: to give away everything. And I think I've had I've

906
00:46:33,120 --> 00:46:36,680
Speaker 2: had the privilege of having time to think about how

907
00:46:36,719 --> 00:46:40,440
Speaker 2: acting works for me and how my sweet spot is,

908
00:46:40,719 --> 00:46:44,279
Speaker 2: as I say, is absolutely like welcoming the interest and

909
00:46:44,560 --> 00:46:48,240
Speaker 2: enjoying the interest, but also choosing when to say something

910
00:46:48,360 --> 00:46:51,160
Speaker 2: and choosing when to shut the fuck up. Yeah, and

911
00:46:51,400 --> 00:46:54,600
Speaker 2: I do. I just think if people did a bit

912
00:46:54,640 --> 00:46:56,719
Speaker 2: more listening and maybe even just a bit more sort

913
00:46:56,760 --> 00:46:59,799
Speaker 2: of just hm, I'm going to think about that rather

914
00:46:59,800 --> 00:47:04,799
Speaker 2: than just bletting it all out, both in terms of

915
00:47:04,800 --> 00:47:08,399
Speaker 2: actors and these human beings. I think like I think. Yeah,

916
00:47:08,480 --> 00:47:09,320
Speaker 2: I'm a big fan of that.

917
00:47:09,719 --> 00:47:11,759
Speaker 1: So if I see you on a carpet, I'm gonna

918
00:47:11,840 --> 00:47:13,759
Speaker 1: let you come up to me. We could do and

919
00:47:13,800 --> 00:47:15,719
Speaker 1: we're just gonna We're just gonna look at each other

920
00:47:15,760 --> 00:47:16,520
Speaker 1: for two minutes.

921
00:47:16,320 --> 00:47:18,880
Speaker 2: And you get to ask me a question. You have

922
00:47:18,920 --> 00:47:21,040
Speaker 2: to ask me the question. This is the thing. Reject

923
00:47:21,480 --> 00:47:23,279
Speaker 2: you just yeah, just sit with it.

924
00:47:23,360 --> 00:47:25,640
Speaker 1: Great. I mean, I might be fired from my other job,

925
00:47:25,640 --> 00:47:27,759
Speaker 1: but it'll be great. It'll be great. It will be

926
00:47:27,800 --> 00:47:28,279
Speaker 1: worth it.

927
00:47:28,360 --> 00:47:31,560
Speaker 2: I can't Luke.

928
00:47:31,640 --> 00:47:35,319
Speaker 1: Thank you for hanging out. Congratulations on Bridgerton and all

929
00:47:35,360 --> 00:47:37,759
Speaker 1: the success. It's like I said earlier, it's your time

930
00:47:37,800 --> 00:47:41,640
Speaker 1: and I'm very excited for you because you bring such

931
00:47:42,520 --> 00:47:44,880
Speaker 1: a depth to the work that you do that I

932
00:47:44,920 --> 00:47:48,080
Speaker 1: think the world is ready for it this season and

933
00:47:48,160 --> 00:47:50,080
Speaker 1: I'm very excited for you and to see where the

934
00:47:50,160 --> 00:47:50,880
Speaker 1: journey's going to go.

935
00:47:51,200 --> 00:47:51,560
Speaker 2: Me too.

936
00:47:51,719 --> 00:47:54,400
Speaker 1: Okay, thank you so much for hanging Thank.

937
00:47:54,200 --> 00:47:55,920
Speaker 2: You all right, I be well, Yeah, we'll do.

938
00:47:58,920 --> 00:48:02,960
Speaker 1: I've never said this before. Is hosted by Me Tommy Dedario.

939
00:48:03,160 --> 00:48:07,400
Speaker 1: This podcast is executive produced by Andrew Puglisi at iHeartRadio

940
00:48:07,520 --> 00:48:11,839
Speaker 1: and by Me Tommy, with editing by Joshua Colaudney I've

941
00:48:11,880 --> 00:48:14,240
Speaker 1: never said this before is part of the Elvis Duran

942
00:48:14,360 --> 00:48:18,600
Speaker 1: podcast Network on iHeart Podcasts for more, rate, review and

943
00:48:18,719 --> 00:48:21,640
Speaker 1: subscribe to our show and if you liked this episode,

944
00:48:21,800 --> 00:48:25,200
Speaker 1: tell your friends. Until next time, I'm Tommy de Dario