WEBVTT - Chiwetel Ejiofor and Bridget Jones: Mad About the Boy 0:00:00.240 --> 0:00:02.400 Get a Pete Helly here. Welcome to you Ain't Seen 0:00:02.440 --> 0:00:04.280 Nothing Yet? The movie podcast Wire, our chat to a 0:00:04.320 --> 0:00:07.080 movie lover about a classic or loved movie they haven't 0:00:07.120 --> 0:00:10.479 quite got around to watching until now. In today's guest 0:00:10.880 --> 0:00:13.760 Oscar nominee, chewital as you for. 0:00:19.320 --> 0:00:19.959 All below. 0:00:20.280 --> 0:00:23.200 I want to stay here with you. 0:00:30.920 --> 0:00:42.120 Thank the jobber, my nay shucked, my fail that you 0:00:42.200 --> 0:00:43.800 couldn't happening right. 0:00:44.840 --> 0:00:46.000 You ain't seen nothing yet? 0:00:54.520 --> 0:00:57.320 If you don't mind, what an exciting episode of you 0:00:57.360 --> 0:00:59.480 Ain't Seen Nothing Yet today? 0:01:00.280 --> 0:01:00.880 Because we have. 0:01:01.520 --> 0:01:05.280 I think I might be wrong, but I think. 0:01:06.120 --> 0:01:07.399 It's our first Oscar nominee. 0:01:07.880 --> 0:01:11.920 He was nominated for an Oscar for twelve Years a Slave, 0:01:13.480 --> 0:01:16.240 and he has been in many of my favorite films, 0:01:16.280 --> 0:01:20.800 including a film that I am growingly becoming obsessed with, 0:01:20.880 --> 0:01:24.720 which is Children of Men by Alfonso Kron and he's 0:01:25.080 --> 0:01:25.640 brilliant in that. 0:01:25.840 --> 0:01:29.120 I think that's a perfect movie. We had a guest 0:01:29.160 --> 0:01:33.120 who nominated it as one of their favorite movies and I. 0:01:33.280 --> 0:01:36.320 Checked it out after they mentioned it, and I was like, yeah, 0:01:36.520 --> 0:01:40.400 this is an amazing film. I thought it was really 0:01:40.440 --> 0:01:43.800 good when I first saw it, but it's spectacular. So 0:01:45.120 --> 0:01:47.960 we get the chat Chewadel about that, and this is 0:01:48.000 --> 0:01:49.720 a bit of a break in protocol. And I should 0:01:49.720 --> 0:01:52.840 also mention I'm recording this intro in an apartment in 0:01:52.920 --> 0:01:55.040 Sydney because I've been there for Peter and the Starcatcher 0:01:55.320 --> 0:01:58.360 coming to Briege and soon the interview is done under 0:01:59.000 --> 0:02:01.600 lott bit junk condition set up by Universal Pictures. I 0:02:01.640 --> 0:02:05.640 appreciate or their helping as system with this interview, but yes, 0:02:05.760 --> 0:02:09.359 it's it's all clean audio for the interview, but it 0:02:09.480 --> 0:02:13.360 is a break from traditional Yasny protocol. 0:02:13.880 --> 0:02:15.480 It's hard to ask somebody doing a junk at the 0:02:15.520 --> 0:02:17.440 squeeze in the time to watch a film. 0:02:17.760 --> 0:02:22.000 So I discuss Childwell's three favorite films of his and 0:02:22.120 --> 0:02:25.160 then we discuss a little grab bag of my favorite 0:02:25.280 --> 0:02:28.880 chiwitel as you four films, which include Twelve Years of Slave, 0:02:29.320 --> 0:02:32.840 Children of Men and Kinky Boots. I was tossing up 0:02:32.880 --> 0:02:35.280 because we had a certain amount of time whether to 0:02:35.360 --> 0:02:39.640 ask about Kinky Boots or love actually, but I assume 0:02:39.680 --> 0:02:42.160 there's plenty of stuff about his thoughts on love Actually. 0:02:42.840 --> 0:02:45.720 I was curious to see how he remembered Kinky Boots 0:02:45.720 --> 0:02:47.919 because there was a big film for him and I 0:02:47.960 --> 0:02:50.160 don't think it was his first lead, but firstly maybe 0:02:50.200 --> 0:02:52.520 the major picture motion picture. 0:02:53.000 --> 0:02:55.200 He done Love Actually, which of course was an ensemble. 0:02:55.840 --> 0:02:58.440 He's only a pretty good time around around that time. 0:02:58.480 --> 0:03:02.560 Actually made Love Actually in two thousand and three, and 0:03:02.600 --> 0:03:04.400 then you Boots in two thousand and five, and he 0:03:04.480 --> 0:03:07.480 makes Children of Men in two thousand and six. But 0:03:07.560 --> 0:03:09.519 you get to discuss what it was like working on 0:03:09.639 --> 0:03:11.880 twelve years a slide, the responsibility that came without, how 0:03:11.919 --> 0:03:14.359 he shok the character off, and the time that took 0:03:15.200 --> 0:03:16.000 working with Joel. 0:03:15.880 --> 0:03:17.639 Edgend In Kicky Boots. 0:03:17.680 --> 0:03:22.000 His love for that film, and also just the amazing 0:03:22.400 --> 0:03:26.280 movie Children of Men, and that amazing ambush scene that 0:03:26.480 --> 0:03:30.560 was almost a one take action masterpiece. So I hope 0:03:30.600 --> 0:03:33.480 you enjoy Chewardelle as before he is in town. He 0:03:33.600 --> 0:03:36.280 was in Sydney for Bridget Jones Mad about the Boy, 0:03:36.720 --> 0:03:42.160 and I recommend those who have followed Bridget on her 0:03:42.200 --> 0:03:44.360 adventures this is not the time to get off. 0:03:44.440 --> 0:03:47.640 I were quite moved by the film. It's as funny 0:03:47.680 --> 0:03:48.240 as I think the. 0:03:48.240 --> 0:03:52.640 Other installments, this one I found more moving for many reasons, 0:03:52.680 --> 0:03:55.440 I think, But yeah, check it out. Get to a cinema, 0:03:55.800 --> 0:03:59.120 watch movies in a cinema when you can. But I 0:03:59.240 --> 0:03:59.920 absolutely stoke. 0:04:00.120 --> 0:04:01.760 Can you hang yet? Cheered out? 0:04:01.880 --> 0:04:02.320 D four? 0:04:02.880 --> 0:04:11.560 Toda Hi, my name is CHURTI ledio four. My three 0:04:11.680 --> 0:04:21.400 favorite films are Bicycle Theme and Andre Rubelev That's. 0:04:26.920 --> 0:04:28.200 And Do the Right Thing? 0:04:28.839 --> 0:04:29.159 Doctor? 0:04:29.400 --> 0:04:29.640 Come on? 0:04:29.839 --> 0:04:31.920 What what? Always? Do the right thing? 0:04:33.960 --> 0:04:35.520 That's it, That's it, I got it. 0:04:35.880 --> 0:04:41.360 I'm gone. Do you miss Tis? 0:04:41.400 --> 0:04:41.960 Sometimes? 0:04:42.120 --> 0:04:43.760 I miss him all of the times. 0:04:44.440 --> 0:04:45.239 Can you survive? 0:04:45.839 --> 0:04:46.320 I think so. 0:04:46.800 --> 0:04:52.320 It's not enough to survive, You've got to live, just Harry. 0:04:59.680 --> 0:05:04.840 Miss don't welcome now. That is what I call a rebrand. 0:05:05.160 --> 0:05:05.839 Did you have sex? 0:05:05.960 --> 0:05:07.960 Did you have sex? Did you have sex last night? 0:05:08.400 --> 0:05:09.680 Yes? I did. 0:05:10.000 --> 0:05:13.440 I had a full night of utterly mind blowing sex 0:05:13.600 --> 0:05:16.160 and it was amazing. 0:05:22.000 --> 0:05:24.599 Bridget Jones, It's time to live. 0:05:25.640 --> 0:05:28.760 Bridget Jones is back and she isn't in great shape. 0:05:28.960 --> 0:05:31.320 And no it's not because she's hitting the bottle or 0:05:31.600 --> 0:05:34.400 pining for a man. It's kind of the opposite. In fact, 0:05:34.400 --> 0:05:38.640 the Bridget, played brilliantly once again by Rene Zoweger, is 0:05:38.760 --> 0:05:43.159 mourning the death of her beloved mister Darcy Colin Firth, 0:05:43.640 --> 0:05:46.719 with two young children to raise with a somewhat shambolic 0:05:46.839 --> 0:05:50.400 help from Uncle Daniel Cleaver, the always watchable Hu Grant 0:05:50.520 --> 0:05:53.840 in full sleeze mode once again. But it's time for 0:05:53.880 --> 0:05:56.880 Bridget Jones to get out of her slump, to get 0:05:56.960 --> 0:06:00.799 back into the workforce, connected with friends, and yes, of course, 0:06:01.200 --> 0:06:04.800 to find her next love. When a tree climbing missap 0:06:05.080 --> 0:06:09.120 brings the attention of her kids, teacher mister Walker, today's guest, 0:06:09.240 --> 0:06:12.440 the always classy chewill Edge You four and the younger 0:06:12.560 --> 0:06:18.160 Chap Rockster White lotuses Leo Woodall. It provides the opportunity 0:06:18.320 --> 0:06:22.240 for the more mature Bridget to try something and someone 0:06:22.920 --> 0:06:24.919 new in life. 0:06:25.279 --> 0:06:29.600 There are memories that will never leave us. I like 0:06:29.720 --> 0:06:36.080 you very much, just as you are. But sometimes those 0:06:36.240 --> 0:06:41.159 memories are suddenly bridges. Oh we left with. 0:06:42.680 --> 0:06:44.320 Welcome to you and see nothing yet real. It's a 0:06:44.360 --> 0:06:45.040 pleasure to have you. 0:06:45.360 --> 0:06:47.160 Thank you, And I'm relieved because I've seen well, i've 0:06:47.160 --> 0:06:49.560 seen two of the three of these films. Okay, so 0:06:49.680 --> 0:06:52.599 you're going to educate me on one of them, which 0:06:52.640 --> 0:06:57.680 is Andre reblov And from nineteen sixty six. 0:06:59.400 --> 0:07:00.360 I know of it. 0:07:00.800 --> 0:07:03.120 I know it's considered one of the great art house 0:07:03.160 --> 0:07:06.599 movies of all time. I somehow know there's a cow 0:07:06.680 --> 0:07:11.360 that is on fire and some some reason I know 0:07:11.480 --> 0:07:13.240 that tell us about it, and what do you like 0:07:13.280 --> 0:07:13.720 it so much? 0:07:13.800 --> 0:07:18.280 So it's a Tarkovski film, and it is a beautiful epic, 0:07:18.520 --> 0:07:23.040 a religious epic really around the life of Andre Rublev 0:07:23.160 --> 0:07:27.680 and his sort of his struggles as a as an 0:07:27.800 --> 0:07:31.800 artist and as a religious figure in this time of 0:07:31.920 --> 0:07:35.680 great change in Russia and these very sort of violent 0:07:35.960 --> 0:07:42.040 encounters and struggles, a period of great political life, of 0:07:42.240 --> 0:07:47.000 great emotional life, of great emotional striving. And you know, 0:07:47.160 --> 0:07:49.920 I was struck by the film because I mean, I'm 0:07:49.960 --> 0:07:54.800 struck by Tarkovsky generally like everybody else. The imaging that 0:07:54.960 --> 0:07:59.000 he uses, the kind of systems of shooting he uses, 0:07:59.680 --> 0:08:03.120 the the way that there's a kind of very visceral 0:08:03.200 --> 0:08:06.440 reaction and a kind of profound intelligence to the work 0:08:06.520 --> 0:08:10.160 that's being done. That is, you know, that is present 0:08:10.240 --> 0:08:13.200 throughout his films, and that was present throughout his career, 0:08:13.280 --> 0:08:15.120 and a sort of a shortened career because he died 0:08:15.200 --> 0:08:20.440 relatively early. But I think because Rublev is so ambitious, 0:08:21.000 --> 0:08:26.800 you know, because it is so so epic in its scale, 0:08:27.720 --> 0:08:30.400 and because the kind of epic quality of it seems 0:08:30.560 --> 0:08:33.199 almost I mean it's hard to say like this, but 0:08:33.280 --> 0:08:37.360 it seems almost easily achieved. You really feel that you're 0:08:37.480 --> 0:08:41.559 confidently in the presence of somebody who has mastered scale 0:08:41.880 --> 0:08:44.600 in cinematic language. 0:08:45.320 --> 0:08:46.240 So there are. 0:08:46.360 --> 0:08:49.240 Sequences that you can go back to time and time 0:08:49.320 --> 0:08:54.120 again and marvel not only the sort of imagination that 0:08:54.320 --> 0:08:58.719 they would have required, but also the fact that you 0:08:58.760 --> 0:09:02.240 would attempt at that some would attempt this sort of 0:09:02.400 --> 0:09:06.199 at all and achieve it so beautifully. These kind of 0:09:06.640 --> 0:09:10.760 sequences with thousands of extras, these sequences with everything on fire, 0:09:10.880 --> 0:09:14.040 these war sequences, but also these sequences of celebrations. There 0:09:14.080 --> 0:09:17.439 are sequences that are aerial, you know, shots from balloons 0:09:17.520 --> 0:09:20.400 and shots from the top of these church towers, and 0:09:21.120 --> 0:09:23.920 there are you know, these shots in the water and 0:09:24.360 --> 0:09:28.079 communities meeting each other. There is such beautiful poetry in 0:09:28.160 --> 0:09:28.720 the filming, and. 0:09:28.720 --> 0:09:31.360 You make them social change, which is runs through I 0:09:31.400 --> 0:09:33.319 think your three favorite films and a lot of the 0:09:33.360 --> 0:09:35.439 movies you've made in your career. But do the Right Thing, 0:09:35.880 --> 0:09:37.120 what does that film make mean to you? 0:09:37.600 --> 0:09:39.520 Well, I mean, do the Right Thing is epic in 0:09:39.559 --> 0:09:42.120 a kind of different way, you know it is. It 0:09:42.280 --> 0:09:46.120 really does capture a moment in time. It's still relevant today. 0:09:46.240 --> 0:09:51.920 But the kind of the discussion of the tensions, the tensions, 0:09:51.960 --> 0:09:55.040 the racial tensions in America, that it brings up this 0:09:55.280 --> 0:09:59.080 idea of there being a real conversation to be had, 0:10:00.000 --> 0:10:03.439 and are people prepared to have these conversations, you know, 0:10:03.960 --> 0:10:08.720 and what is the result of these conversations. To set 0:10:08.800 --> 0:10:12.599 that film in that in that time, For Spikey to 0:10:12.679 --> 0:10:17.160 place it, and to place that argument so vehemently with 0:10:17.360 --> 0:10:20.719 such kind of clarity and strength, I think was the 0:10:20.840 --> 0:10:23.679 thing that ingrained it as an idea into the minds 0:10:23.720 --> 0:10:26.559 of everybody who watched that film. It was again a 0:10:26.720 --> 0:10:31.400 sort of perfectly realized way of having a very complicated 0:10:31.559 --> 0:10:33.080 conversation with an audience. 0:10:33.280 --> 0:10:35.599 It was he was the first time I heard or 0:10:35.640 --> 0:10:39.079 answer the argument. Spikeley made the argument that film's idea 0:10:39.600 --> 0:10:42.679 is or purpose is to present problems and then for 0:10:43.320 --> 0:10:47.199 the audience to debate them. And I think some writers do, 0:10:47.400 --> 0:10:49.719 mean some critics get confused about trying to fix the 0:10:49.800 --> 0:10:53.360 world through movies. It's not we can promote, debate and 0:10:53.559 --> 0:10:55.680 have arguments. And he mentioned, you know, the whole debate 0:10:55.720 --> 0:10:57.880 about did Murky did do the right thing? And he 0:10:57.960 --> 0:11:01.800 says only white people ever asking that question, which is interesting. 0:11:02.080 --> 0:11:03.839 But is that what you like when you watch a 0:11:03.880 --> 0:11:08.600 film that is just prompting a debate or a new 0:11:08.640 --> 0:11:09.120 way of thinking. 0:11:09.679 --> 0:11:10.120 I think so. 0:11:10.280 --> 0:11:11.959 I mean, I think that's part of it, you know. 0:11:12.160 --> 0:11:15.240 I feel like that film actually does land on a side, 0:11:16.600 --> 0:11:19.480 It has a position. I think that the sort of 0:11:19.920 --> 0:11:23.600 the final questions I think are kind of the debate. 0:11:23.800 --> 0:11:26.760 But I think it's just in the presentation of the 0:11:27.080 --> 0:11:29.600 conditions and the overall. 0:11:29.280 --> 0:11:30.880 Context of a life. 0:11:31.600 --> 0:11:34.599 You have so many answers to to what is, to 0:11:34.720 --> 0:11:37.559 what was then what still continues in some ways, to 0:11:38.120 --> 0:11:41.199 go on, and to be able to have that conversation 0:11:41.760 --> 0:11:42.360 without the. 0:11:42.440 --> 0:11:45.240 Need for explicitly stating anything. 0:11:45.160 --> 0:11:50.160 But through images, through characters, through conversations, through the dynamics, 0:11:50.200 --> 0:11:53.400 through cinematography, through sound, through music, you know, you can 0:11:53.520 --> 0:11:58.719 have these very developed concepts looked at, thought about, and 0:11:59.160 --> 0:12:02.240 I think people come away from it changed. You know 0:12:02.480 --> 0:12:04.679 that even if they feel like, well, I don't know 0:12:04.760 --> 0:12:05.920 if he did the right thing or didn't do the 0:12:06.000 --> 0:12:08.319 right thing, what they actually come away from is a 0:12:08.480 --> 0:12:11.719 better understanding of the world. And that I think is 0:12:11.840 --> 0:12:16.200 really what films can achieve. You know, if you come 0:12:16.240 --> 0:12:18.199 out of a film and you're looking at the world 0:12:18.679 --> 0:12:22.280 in a slightly different way. You know, then you've really 0:12:22.360 --> 0:12:24.239 truly had a cinematic experience. 0:12:24.480 --> 0:12:27.240 Basycle Themes I've loved for it's the first foreign language 0:12:27.240 --> 0:12:29.160 film I ever watched when I was younger. 0:12:29.800 --> 0:12:33.160 What does that film mean to you? Well so much. 0:12:33.440 --> 0:12:39.719 I mean, Bicycle Themes is a film of just this 0:12:40.000 --> 0:12:42.959 kind of deep profundity. First of all, I think it's 0:12:43.040 --> 0:12:46.640 the relationship between a father and a son that and 0:12:46.720 --> 0:12:50.000 I think when I first watched that film, it was 0:12:50.080 --> 0:12:53.840 the first time I had seen that relationship represented quite 0:12:53.920 --> 0:12:57.559 as powerfully as that one is. Just the love and 0:12:57.720 --> 0:13:02.440 that bond seemed so deep to me. You know, there's 0:13:02.440 --> 0:13:04.720 a sequences he walks towards the river when he thinks 0:13:04.760 --> 0:13:08.800 Bruno might have fallen in and you know, they've had 0:13:08.840 --> 0:13:11.800 an argument and he's stormed off, and then he hears 0:13:11.840 --> 0:13:13.959 that a boy has fallen in the river, so he 0:13:14.040 --> 0:13:16.160 starts to walk back, and there's a close up shot 0:13:16.240 --> 0:13:18.480 of his face as he's walking back, and you see 0:13:18.600 --> 0:13:21.360 a beautiful piece of acting by the way that you 0:13:21.600 --> 0:13:25.400 see the doubt and the concern and the fear creep 0:13:25.480 --> 0:13:28.880 into his face as he thinks, could it be, could 0:13:29.040 --> 0:13:32.440 it be? Is there any chance that they're calling for Bruno? 0:13:32.600 --> 0:13:32.760 You know? 0:13:33.120 --> 0:13:35.400 And then he starts to run and starts to scream 0:13:35.440 --> 0:13:37.600 the name of his son, and then eventually he finds 0:13:37.679 --> 0:13:41.640 him and they're embrace, and that moment is absolutely heartbreaking. 0:13:41.840 --> 0:13:44.240 And so the film for a lot of that kind 0:13:44.240 --> 0:13:48.040 of postwar Italian circumstance and all of the questions it 0:13:48.160 --> 0:13:53.320 asks about ethics and morality, about circumstances, about the social 0:13:53.400 --> 0:13:54.439 structures that we live in. 0:13:55.160 --> 0:13:55.319 You know. 0:13:55.640 --> 0:13:58.640 It's a deep and profound and beautifully sharp film. 0:13:58.840 --> 0:14:02.679 And all amateur actors, yeah, exactly, found actors, including the 0:14:02.720 --> 0:14:04.920 adult axes. Often people talk about it in terms of 0:14:05.000 --> 0:14:06.719 the young actors and they say, oh, these are young, 0:14:07.000 --> 0:14:09.280 but everybody in that film is really sort of coming 0:14:09.360 --> 0:14:11.679 to that. It was arriving in that moment into the 0:14:11.840 --> 0:14:14.000 into that that's and take on the mantle of it 0:14:14.720 --> 0:14:19.040 with such precision. So Desika did an extraordinary job. 0:14:19.160 --> 0:14:22.000 And let's jump forward to why you're here in Australia. 0:14:22.000 --> 0:14:24.680 Bridge Giants A matter about the boy? Congratulations? Sorry last 0:14:24.720 --> 0:14:27.440 week I've seen all Bridge Jones films, have enjoyed all 0:14:27.520 --> 0:14:30.960 of them. This one was speaking of somebody about I said, 0:14:31.160 --> 0:14:33.280 it's as funny as all the other films, but with 0:14:33.440 --> 0:14:38.240 this one there is it got me like emotionally, I I, 0:14:38.480 --> 0:14:40.880 you know, I whether a tear roll down my check, 0:14:40.920 --> 0:14:43.280 but my eyes were watering that this, I don't know, 0:14:43.360 --> 0:14:47.000 the great the whole grief thing really struck me emotionally. 0:14:47.080 --> 0:14:49.120 This was the most emotional I've gotten watching a Bridge 0:14:49.160 --> 0:14:49.640 Janons film. 0:14:50.080 --> 0:14:51.040 Yeah. I think that's right. 0:14:51.080 --> 0:14:53.160 I think that the what I loved about it when 0:14:53.200 --> 0:14:55.800 I read the script was that it had all of 0:14:56.000 --> 0:14:58.040 exactly as you're saying, and had all of the humor. 0:14:58.840 --> 0:14:59.000 You know. 0:14:59.640 --> 0:15:03.520 Somebody put it this way recently. They said, it's like 0:15:03.760 --> 0:15:09.080 nothing's changed except everything. I think that's a really beautiful 0:15:09.080 --> 0:15:11.480 way of describing it. I just I felt like it 0:15:11.600 --> 0:15:14.240 had all of that humor, but it had this layering 0:15:14.360 --> 0:15:18.160 of this kind of emotional base to it that felt 0:15:18.480 --> 0:15:20.800 very authentic and very very real. 0:15:20.920 --> 0:15:22.880 And I think it's it is that thing. 0:15:22.800 --> 0:15:26.360 About all of the sort of challenges of growing of 0:15:26.480 --> 0:15:31.000 growing older, the different things you face. But you know, 0:15:31.240 --> 0:15:34.880 but having Bridget in this phase of life, it means 0:15:34.920 --> 0:15:38.160 that you can have all of that optimism and that 0:15:38.440 --> 0:15:43.240 perseverance and that kindness frankly, and still feel that it's 0:15:43.320 --> 0:15:46.720 relevant in middle age. I mean to still feel like, 0:15:46.800 --> 0:15:49.760 actually that gets you through some of the sort of 0:15:49.880 --> 0:15:52.640 profound challenges that you can face. It this at a 0:15:52.720 --> 0:15:55.200 certain time in life. And so I felt it just 0:15:55.320 --> 0:15:58.040 had a real riches. It was almost as if Bridget 0:15:58.160 --> 0:15:59.960 Jones had found her moment. 0:16:00.320 --> 0:16:03.560 You know, and it was and it was now comedies 0:16:03.600 --> 0:16:06.320 are hard to get made, and they're hard to make work, 0:16:06.720 --> 0:16:10.520 but here we are fourth, you know, installment of Bridge Jions. 0:16:10.560 --> 0:16:14.120 What what is it about Bridge Gionts and the character 0:16:14.160 --> 0:16:16.920 of Helen Fielding created And now Rene Zelwega has. 0:16:18.360 --> 0:16:20.960 I think that it's there's a lot of different factors. 0:16:21.000 --> 0:16:23.520 I think, I think absolutely that Helen Fielding right from 0:16:23.520 --> 0:16:25.520 the beginning, there was a very there was I remember 0:16:25.560 --> 0:16:27.680 at the beginning, there was that intrigue, you know, when 0:16:27.800 --> 0:16:31.120 the in the in the newspapers, when it when it 0:16:31.200 --> 0:16:33.360 first came out, you know, as as a sort of 0:16:34.440 --> 0:16:36.600 in the journal you know that was printed I think 0:16:36.680 --> 0:16:39.800 weekly was the Bridget Jones Diary, and it was fun 0:16:39.960 --> 0:16:42.200 and everybody was kind of excited about it. And then 0:16:43.120 --> 0:16:46.120 and then it turned into the book, the first book, 0:16:46.160 --> 0:16:48.120 and there was a lot of excitement about that, and 0:16:48.200 --> 0:16:49.960 I hadn't I didn't read the book at the time, 0:16:50.040 --> 0:16:53.280 but I was familiar with the newspaper and then and 0:16:53.520 --> 0:16:55.320 you know, obviously everybody was talking about the book and 0:16:55.440 --> 0:16:58.680 then and then the film, you know, so I came 0:16:58.760 --> 0:17:01.520 to it then with the film, and I just fell. 0:17:01.360 --> 0:17:01.880 In love with it. 0:17:02.080 --> 0:17:02.240 You know. 0:17:03.120 --> 0:17:06.320 I thought that it was incredibly fresh. 0:17:06.280 --> 0:17:10.359 You know, just it had in this character, very very funny, 0:17:11.200 --> 0:17:14.080 but also something unique, you know, just something that was 0:17:14.160 --> 0:17:16.440 about everybody that was that felt like, you know, this 0:17:16.600 --> 0:17:17.840 character didn't say the right. 0:17:17.720 --> 0:17:19.480 Thing or do the right thing, but it wasn't sort 0:17:19.480 --> 0:17:22.040 of broad comedic. It was it felt very real. 0:17:22.480 --> 0:17:27.000 And I had loved Renee from before, and to see 0:17:27.080 --> 0:17:29.840 her in this film it was sort of surprising to 0:17:29.920 --> 0:17:32.960 me because obviously she was an American actress, and yet 0:17:33.080 --> 0:17:35.560 she was doing something that was so specific in terms 0:17:35.600 --> 0:17:38.159 of the kind of Britishness that she was that she 0:17:38.400 --> 0:17:42.080 sort of pinpointed that it sort of felt like, you know, witchcraft, 0:17:42.840 --> 0:17:44.119 and it felt like sorcery. 0:17:44.400 --> 0:17:45.560 She just got it so right. 0:17:45.760 --> 0:17:48.920 And so do you think sometimes those comedic performances don't 0:17:49.000 --> 0:17:52.879 get the accolades that they deserve because it is a 0:17:52.960 --> 0:17:54.119 stunning performance. 0:17:54.240 --> 0:17:56.000 I think that's you know, absolutely true. 0:17:56.080 --> 0:17:58.200 I think it's just that everything about it, you know, 0:17:58.240 --> 0:18:00.880 because having to get into the manners, having to get 0:18:00.920 --> 0:18:04.000 into the specifics, having to perform in that way, and 0:18:04.080 --> 0:18:07.159 that at that level, you know, you know, I'd seen it. 0:18:07.280 --> 0:18:09.280 I was first aware of her and Jerry maguire, so 0:18:09.400 --> 0:18:11.960 it was a completely different you know, she brought the 0:18:12.000 --> 0:18:14.399 same authenticity and energy in a way, but it was 0:18:14.440 --> 0:18:16.960 a completely different sort of line of it. So I 0:18:17.040 --> 0:18:20.639 think that's why people were just crazy about it, you know, 0:18:20.760 --> 0:18:23.200 when it came out and they felt so seen and 0:18:23.320 --> 0:18:26.600 represented by it, and I think it sort of set 0:18:26.640 --> 0:18:29.280 off this kind of huge wave of affection it became, 0:18:29.400 --> 0:18:31.600 and that I think is the reason that it became 0:18:31.760 --> 0:18:36.280 so beloved. It's so optimistic and this idea of somebody 0:18:36.359 --> 0:18:39.399 being able to persevere, you know, through it all. I 0:18:39.440 --> 0:18:42.760 think we all feel out of step with the world sometimes, 0:18:43.040 --> 0:18:45.320 you know that we're kind of trying to catch up, 0:18:45.440 --> 0:18:47.320 or we're spinning plates and some of them are falling, 0:18:47.400 --> 0:18:51.040 and we're blaming ourselves, you know, for all of these things, 0:18:51.119 --> 0:18:53.879 and then along come somebody who says, don't worry about 0:18:53.920 --> 0:18:56.119 all that. You know, yes, we spend all of this 0:18:56.240 --> 0:18:59.320 time judging ourselves and blaming ourselves, but actually, you know what, 0:18:59.600 --> 0:19:02.600 you can still win, and you can do it with 0:19:02.680 --> 0:19:05.479 optimism and kindness. And I think there was something very 0:19:06.200 --> 0:19:10.720 it's something that still lasts and almost feels like right now. 0:19:11.200 --> 0:19:13.600 It's a it's it's a it's a message that I 0:19:13.680 --> 0:19:14.560 think can be really her. 0:19:14.800 --> 0:19:17.080 It gets the mixture out of being right now. And 0:19:17.160 --> 0:19:19.320 there's a reason for this film to exist. Absolutely that 0:19:19.359 --> 0:19:22.600 you know that the passing of you know, mister Darcy, 0:19:22.760 --> 0:19:26.200 but it's it's not relying and sorry, it also feels nostalgic, 0:19:26.480 --> 0:19:29.440 but it's not relying on nostalgia. But watching the film 0:19:29.560 --> 0:19:32.560 and seeing you Grant again and then Thompson, it's it's 0:19:32.560 --> 0:19:35.080 so much fun. But also what I was quite touched 0:19:35.119 --> 0:19:37.560 by was her little circle of friends, you know, the 0:19:37.640 --> 0:19:40.480 Sally Phillips, and it was really I was quite moved 0:19:40.520 --> 0:19:44.200 to see them again and that those friendships continue totally. 0:19:44.320 --> 0:19:46.840 I mean, it's all about love, isn't it in a way, 0:19:46.880 --> 0:19:49.159 and all of the different kinds of love that you 0:19:49.440 --> 0:19:53.160 that you experience, and obviously there's romantic love, but then 0:19:53.200 --> 0:19:55.919 there's the love of family, you know, the love of parents, 0:19:56.040 --> 0:19:58.760 the love of children, you know, and then you know, 0:19:58.840 --> 0:20:02.040 there's love of friends, which doesn't often get talked about, 0:20:02.119 --> 0:20:04.239 you know, quite as much. But this is a very 0:20:05.000 --> 0:20:09.440 profound love that we have in our lives. And that 0:20:09.600 --> 0:20:12.320 kind of support system and that kind of chosen family 0:20:13.000 --> 0:20:15.520 is so important. And I think one of the things 0:20:15.600 --> 0:20:19.240 about this is exactly that sense of feeling, oh, thank goodness. 0:20:19.359 --> 0:20:23.159 You know, she's held onto all of these relationships, and 0:20:23.280 --> 0:20:26.159 I'm so happy that in the twenty five years that 0:20:26.240 --> 0:20:26.960 I've been able. 0:20:26.800 --> 0:20:28.119 To do that too, you know. 0:20:28.400 --> 0:20:31.399 And it's another way that you relate to her and 0:20:31.520 --> 0:20:35.800 you reflect on how important those relationships have been for you. 0:20:36.240 --> 0:20:37.960 Now you carrige everyone to go to the cinema. Of course, 0:20:38.000 --> 0:20:40.840 I see Prittis Jones, met that boy and have a 0:20:40.960 --> 0:20:42.920 laugh with people around you. I want to jump around 0:20:42.920 --> 0:20:46.119 a little bit now to your studying career. Obviously nominated 0:20:46.160 --> 0:20:47.720 for the OSCAR for twelve years. 0:20:47.720 --> 0:20:51.440 A slave. I want to ask you what part of 0:20:51.480 --> 0:20:53.879 the country you come from. I originate from Canada. 0:20:54.640 --> 0:20:55.480 I guess where that is. 0:20:55.840 --> 0:20:58.320 Well, I know where Canada is. I've been there myself. 0:20:58.880 --> 0:20:59.960 We'll traveled for a slave. 0:21:01.640 --> 0:21:04.280 Solomon Northolk is an expert player on the violin. 0:21:05.359 --> 0:21:08.159 I was born a free men, lived with my family 0:21:08.240 --> 0:21:10.440 in New York. Been good for your mother until the 0:21:10.560 --> 0:21:15.360 day I was to see to Solomon kidnapped, sold into slavery. 0:21:16.600 --> 0:21:19.359 If you can go back, can you remember, I mean, 0:21:19.720 --> 0:21:23.520 accepting that role, the responsibility that comes with that. Do 0:21:23.600 --> 0:21:26.800 you remember what you were feeling on day one of 0:21:27.040 --> 0:21:29.719 filming or the night before, you know, trying to get 0:21:29.760 --> 0:21:32.560 the select, like just rolling up to that set. Yeah, 0:21:33.040 --> 0:21:35.960