• l’année dernière
Transcription
00:00 [MUSIC]
00:10 [MUSIC]
00:20 I could be center stage.
00:31 [LAUGH]
00:33 Taking the big parts.
00:35 I'm not interested in being worthy.
00:38 Not interested in being virtuous and standing there for
00:42 the good of the company.
00:43 I'm simply not interested in that.
00:45 It's the way I'm constructed.
00:46 It's my own megalomaniacal selfishness, I suppose.
00:50 I'm not interested in all that experimentation and
00:52 you know, we've all got to knuckle under and obey the director.
00:55 I say, bollocks.
00:58 >> [FOREIGN]
01:08 [FOREIGN]
01:18 >> The thing is gonna happen pretty fast.
01:36 >> Yes. >> You confront them,
01:38 they attack you, Van Helsing challenges you, you make your lay statement and
01:42 you leave.
01:43 >> Yeah.
01:43 >> Steven Spielberg also claims to be the president of the United States,
01:47 in Amistad.
01:48 >> You're coming down, you're the secretary.
01:49 It's all self-sufficiency in the province.
01:51 >> Yeah. >> But this is a better location.
01:53 So we're gonna do that first.
01:54 Have you seen the house that we're gonna live in?
01:55 >> No. >> Come here.
01:56 >> You're gonna love this.
01:58 >> The year 1992 marks a turning point in Anthony Hopkins' career.
02:02 In addition to becoming the favorite actor of director James Ivory,
02:06 it's also the year that he'll be the greatest, for
02:09 his emblematic role in The Silence of the Lambs.
02:12 >> And the Oscar goes to Anthony Hopkins.
02:15 >> [APPLAUSE]
02:17 >> I sat there that evening in the Oscars,
02:19 and Ted Talley picked up the best screenplay writer.
02:23 And at that moment, I thought, I think I've got the Oscar.
02:27 And Kathy Bates came down stage to present it, and
02:30 I knew she was gonna call my name.
02:32 >> [APPLAUSE]
02:35 >> First of all, I just,
02:36 before I say it, I wanna say hello to my mother.
02:38 >> [LAUGH]
02:39 >> She's in Wales watching this on
02:40 television with Eve and Jean and Jill and Tony.
02:45 My father died 11 years ago tonight, so
02:47 maybe he had something to do with this as well, I don't know.
02:50 And then I thought when I got up there to take the Oscar, I thought, well,
02:53 now I can do some bad films, which I proceeded to do.
02:56 It doesn't matter, really.
02:57 I touched the ceiling of my life, I suppose.
03:00 I love the coldness of life.
03:04 I love the inevitability of it all.
03:07 [MUSIC]
03:13 I had no friends, because I rejected friends, I suppose.
03:18 So I was lonely.
03:18 I was a non-starter, very poor student.
03:23 I was convinced I was on the wrong planet.
03:26 [MUSIC]
03:29 I think that those years were quite formative for me.
03:32 I was escaping, I think, from my sense of being a kind of clodhopper.
03:35 [MUSIC]
03:40 Well, I was the source of worry.
03:41 I was the only child, and I was the source of worry of both my parents when I was
03:44 a kid, because I was so stupid at school.
03:46 I mean, I have fashionable high-flown words, like I was dyslexic.
03:49 I think I was just stupid.
03:50 And I couldn't figure out what anyone was talking about.
03:53 And I was the lonely kid at the top of the street, you know, staring at my
03:56 thumbnail, and all the other kids were down the other end of the street.
03:59 My father used to say to my mother, there's something very wrong with this
04:02 boy, which is not the way to, you know, give one self-confidence.
04:06 But they were worried about me.
04:08 But I had, in a strange way, I had an idyllic childhood.
04:11 I remember the first four years very clearly.
04:12 I've got one of those cursed and blessed with images and a very long memory.
04:21 I can remember back to very early times, probably about the age of two,
04:24 something like that.
04:25 And I remember South Wales.
04:29 I was born in the rural part of Port Talbot, a place called Margam.
04:33 And it really was like the Garden of Eden.
04:35 I remember our little front garden, you know, and it really was a couple of
04:39 small trees.
04:39 And there really was like a mini paradise.
04:42 And I can recall, you know, when I close my eyes, I can go back there.
04:47 And it's all changed now, of course.
04:48 But I can, the smells and the colours.
04:53 But when I went to school, that was the beginning of the turning point for me,
04:57 when I realised I was different, backward, more slow.
05:03 And I have no regrets at all, because that was the fire in the belly that
05:06 gave me enough anger and rage.
05:08 My father was a pretty boisterous, tough, old salt, really.
05:18 He was a remarkable man.
05:19 I loved him very much.
05:22 He was a baker by profession.
05:23 That's what he started.
05:24 And he took over, he was a baker with his father.
05:28 Good God.
05:30 Believe it or not, I lived in here.
05:33 It's just like my dreams.
05:35 Ruins.
05:37 Maybe it's a symbol of my own ruined life.
05:40 I don't know.
05:42 And I remember that sometimes, the yellow look on his face around the
05:45 mules, and the sweat.
05:48 And he'd say, oh, God.
05:50 And he'd do that, and I remember, God, he spoke hard.
05:55 Yeah.
05:57 I think that's why I get angry sometimes.
06:00 Do you think of your father often, though?
06:02 All the time.
06:03 And as I get older, he's becoming me.
06:05 I'm him.
06:06 I remember I used to play the piano a lot.
06:08 I was a little artist.
06:09 I used to play Beethoven and all that stuff, and Chopin and all that.
06:12 And he was a baker, and he used to ask me to come and help him in the shop,
06:16 to carry the cakes into the shop during school holidays.
06:18 Well, I'd sort of get distracted.
06:20 And I remember sitting at the top of the house where this piano was,
06:23 and I remember him coming up to the stage, he said, for God's sake,
06:25 he said, I asked you to take those donuts into the shop.
06:27 What the hell are you doing up here?
06:29 I was playing the piano.
06:30 He said, what's that you're playing?
06:31 I remember him standing in the doorway, and he had flour dust in
06:33 his hair and his arms, you know.
06:34 Really hard worker.
06:35 He said, what are you playing?
06:36 I said, Beethoven.
06:37 He said, no wonder you went deaf.
06:39 I don't know what my role in the world is.
06:46 I came out here many years ago because I wanted to be in movies,
06:49 be an actor.
06:50 I was a bad boy.
06:53 I couldn't stand the British theater.
06:55 I couldn't stand any of it because I didn't feel I belonged there.
06:59 Nobody's fault. I just didn't have it in my nature to be part of that group.
07:04 So I reinvented my life, and I came out here some years ago,
07:07 and you see the result of it.
07:08 I'm pretty feisty, rebellious, unhappy.
07:14 And so I want to give back to people, not because I'm on a crusade,
07:18 far from it.
07:19 I do this because I've got nothing better to do.
07:21 They give me a cup of coffee and some fruit in the morning,
07:23 so it keeps me off the streets, keeps me out of trouble,
07:25 and I get some fun doing it.
07:26 These pretty, beautiful girls here, women, women, women.
07:30 They're beautiful.
07:31 I get hugs from them all.
07:32 It's very nice.
07:33 Some of the men hug me as well.
07:35 But it's lovely to see them opening up, and if that's their response,
07:38 then that makes me happy.
07:40 [speaking french]
07:43 [speaking french]
07:46 [speaking french]
07:49 [speaking french]
08:16 Yeah, when I started out, I just wanted to be famous.
08:19 I didn't want to become a great actor.
08:20 I didn't want to become a great Shakespearean actor.
08:22 I had no idea that people would say, "You're the next Olivier."
08:24 I didn't want to become the next Olivier.
08:25 I didn't want to stand in wrinkle tights on the Old Vic stage
08:28 for the rest of my life.
08:29 I had ideas beyond that.
08:31 I was discontented.
08:39 I was angry and fed up and hated being part of an establishment
08:45 and hated doing Shakespeare.
08:47 It was all my own making.
08:49 I was the enemy within.
08:50 It was all my own making.
08:51 It was nobody else's fault.
08:52 Everyone did their best to, you know, cater to my needs.
08:58 Were you drinking at that time?
09:00 Oh, yes, but all actors drink.
09:03 That was just an episode in my life that's over and done with.
09:06 That's a boring episode of my life.
09:08 But I don't think it helped.
09:10 But I was restless.
09:11 I wanted to get out, and I was frightened.
09:13 I was taking on this monumental part,
09:15 and I never pretended that I had the courage
09:17 to do these great parts like Macbeth and King Lear.
09:20 I never said I could do them.
09:22 I never thought I'd had the courage to do them.
09:25 I wanted it all.
09:31 I wanted to be successful, and I wanted to be famous,
09:34 and I wanted to be in movies,
09:35 and I wanted to meet people like Catherine Hepburn,
09:38 and I wanted to meet Peter O'Toole,
09:39 and I met Peter O'Toole, and I met some great people,
09:42 some wonderful directors, some wonderful actors.
09:44 Would you say, Father, that I have the makings of a king?
09:47 Splendid king.
09:48 Would you expect me, Father, to give up without a fight?
09:51 Of course you'll fight. I raised you to.
09:53 I don't care what you offer Philip.
09:55 I don't care what plans you make.
09:56 I'll have the aquitaine and Alice and the crown.
09:59 I'll not give up one to get the other.
10:01 I won't trade off Alice or the aquitaine to that walking posture!
10:05 No, your loving son will not.
10:09 I remember the first few days on the set of Lion in Winter,
10:15 and I'd done a movie test with Peter O'Toole a few weeks before.
10:20 And he was on the test with me, reading off lines off the camera.
10:25 And I remember them saying, "Cut!"
10:28 O'Toole said, "You got it. Fantastic."
10:32 And I said, "You see, she'll have this bloody marvellous darling.
10:36 "And a big star."
10:39 "That's going to have a drink."
10:41 I love those guys, the drinkers. I guess they were the best.
10:44 I love drunks. I love that.
10:47 And Peter was a great boozer.
10:49 I had to give it up because he nearly damned killed me in the end.
10:52 But I remember that sensation, "You're going to be marvellous."
10:55 But you have to have a certain vulnerability
10:58 and to be a certain amount of mess inside you, I think, to really succeed.
11:02 You have to be really screwed up to be successful in this business.
11:05 What did you learn from Katharine Hepburn?
11:08 What did you learn from Hepburn in that movie?
11:11 She said to me, "Don't act. Don't act.
11:14 "Just speak the lines. Be what you are."
11:17 I was playing Richard the Lionheart.
11:19 She said, "You look good. You've got a good head, good shoulders."
11:22 She said, "You've got all the advantages.
11:24 "So don't act. Don't overact. Don't be theatrical."
11:27 I said, "What do I do?" She said, "Speak the lines."
11:31 Which sounds very simplistic, but I think she was right.
11:35 She's talking about film acting.
11:37 "Don't overact. Don't show too much."
11:39 We could tangle spiders on the webs you weave.
11:43 If I'm so devious, why don't you go?
11:46 Don't stand there quivering in limbo.
11:49 Love me, little lamb, or leave me.
11:52 You were influenced by the movies, weren't you?
11:55 The actors, so we all were.
11:57 I was brought up on movies. My parents were quite disciplined.
12:00 I used to go to a movie once a week or twice a week.
12:03 I used to watch all those old Warner Brothers movies.
12:06 Bogart and all that.
12:08 I used to learn the scripts.
12:10 You could...
12:12 I knew you were going to ask me this.
12:14 Speak the script.
12:16 Speak the... OK.
12:18 Do you remember those scripts?
12:20 Yes. "My name is Spade, Sam Spade, licence number 357896.
12:24 "Issued by the Police Department of San Francisco.
12:27 "Occupation, private detective, sometimes known as Private Eye."
12:31 I live it. Well done.
12:33 APPLAUSE
12:35 Let's go, guys.
12:38 As close to Lauren Bacall as I've ever heard.
12:43 Very nice. Just another facet of your...
12:47 Yeah, very slick chap, going up for life. I'll tell you about it.
12:50 It's good, and you remember the lines.
12:52 Yes, I remember the lines. I learned all that before I came along here.
12:55 You didn't even ask me.
12:57 For God's sake, don't let them know all the secrets.
13:00 Yeah.
13:02 Gart, James Cagney, Marlon Brando.
13:05 It's to them that the young and ferocious Anthony Hopkins,
13:08 now 37, thinks, when he decides to leave England
13:11 to try his luck in Hollywood and start another chapter of his life.
13:15 This chapter will undoubtedly be the most intense.
13:20 Anthony Hopkins is still caught up in it with a demon
13:23 he doesn't seem to be able to get rid of - alcohol.
13:29 His lack of confidence and his ill-being, as he has often said,
13:32 have made him switch to alcohol.
13:35 Hollywood will be his hell, then his redemption.
13:38 Well, I found tequila when I came here.
13:53 And I drank enough of that to unzip my brain and drive me crazy.
13:57 And then I woke up and came to my senses and I thought,
14:00 "Well, I'm going to blow it all if I don't stop doing this nonsense."
14:04 I was troubled, you know. I was just bored, really.
14:07 And I couldn't fit in there. I just didn't feel at home.
14:10 And that was my problem.
14:12 I was bad-tempered, drank too much and all that.
14:15 And it all came to a bit of a crisis and I walked out.
14:18 I left in the middle of a production, which was a very drastic thing to do.
14:23 I hurt a few people.
14:26 Um...
14:28 But it's the only way I knew how to survive whatever I was going through.
14:33 So I got out and I was in work. I started work fairly soon after that.
14:38 I suppose I went through a sort of, not a breakdown,
14:41 but I just felt very unhappy and unsettled
14:44 and I had no sense of self-confidence at all.
14:48 It's not I fear death or the end of it all, but I am aware of it.
14:52 I'm 57 years of age and I want to have the richest years of my life ahead of me.
14:57 And I plan to, and I'm going to.
14:59 When I first came to California, out here, in Santa Monica,
15:10 it was like being on another planet.
15:15 I thought they were a different race of people.
15:18 Everyone in those days looked very glamorous and I thought they were all...
15:22 tall, blonde girls and good-looking guys.
15:26 I like the shallowness of it all, in a way.
15:32 Jonathan Miller said to me when he came out here,
15:35 "How can you live here? It's like living on the moon."
15:38 I said, "Well, it's all right. I like it here."
15:41 There's a lovely time in the evening like now
15:45 and it feels very, very peaceful and it just feels right.
15:49 I carry that feeling around with me most of my time now.
15:53 That thing just feels right inside, you know.
15:57 No contention, no argument, no fighting, no belligerence.
16:05 California.
16:09 Another planet on which he lives in the company of Jennifer Linton, his second wife,
16:14 and a production assistant he met in England.
16:18 Anthony Hopkins left his first wife, Petronella,
16:22 and the child they had together, his daughter, Abigail, there.
16:26 America for Hopkins is the world of the impossible.
16:31 His luck smiles when in 1978, Richard Attenborough offers him a key role for his career,
16:37 that of a mad ventriloquist in the unknown "Magic".
16:41 You're in The Rising Aces. Tom Watts, Scrooge.
16:44 You see the broad with the big jugs.
16:46 You mean the young lady in the feathers? Yeah, I see her. So on.
16:50 What if she'd like a role in The Shavings of Me?
16:53 I don't think you're very funny.
16:55 Well, they do.
16:57 What about the vent, though, first of all?
17:01 How difficult is it to throw your voice like that without moving your lips, as they say?
17:05 Well, I found it very easy,
17:09 maybe because I'm an actor and you have to keep your voice flexible.
17:13 And I was willing to learn, and I decided that the only way I could do it was to enjoy it.
17:19 And I think I mimic as well, so I found it fairly easy.
17:24 And I'm not a good teacher. Maybe I was a good student.
17:27 Can you still do it? Yes.
17:29 How about that walk? Yes, I can.
17:32 Hi, Michael. How are you doing? Good to see you. Hi, gang. You OK? Fantastic.
17:37 (LAUGHS)
17:39 Hey, you know what I think?
17:45 What do you think?
17:47 We're going to be a star!
17:50 I find that acting has been tremendously therapeutic for me.
17:59 I think if I hadn't been an actor, I probably would have been...
18:02 I don't know if I would have been slightly criminal,
18:05 I would have been a very nice human being.
18:07 I don't think I would have... I think I would have eaten myself alive.
18:10 And acting has saved me from that, in a way.
18:13 It's helped me to touch parts of my own personality,
18:19 I suppose, of my own inner darkness.
18:24 Darkness, monsters, prejudices, violence, humanity.
18:29 In 1980, with the film Elephant Man and his role as Dr Treves,
18:34 before coming to help John Hurt, the famous elephant man,
18:37 Anthony Hopkins puts on his Hollywood star costume.
18:40 On set, the relationship between David Lynch and Hopkins is remarkable.
18:45 Good for him. The film is a masterpiece and will forever remain one of his greatest roles.
18:50 Basically, it's a very touching story about a man called John Merrick,
18:56 who was so seriously deformed, I don't know what the nature of his disease was,
19:00 but he had a very large head and one side of his body totally deformed.
19:05 And he was a sideshow freak, and he was cruelly beaten and treated very badly.
19:10 He was born like this.
19:28 And the part I play is Dr Frederick Treves,
19:33 and Treves found him in the circus, in the sideshow,
19:36 and took him back to the London Hospital and kept him there.
19:39 But John Merrick could speak and he could read and he could write,
19:52 and he became a centrepiece for society in London.
19:55 This is about the 1880s.
19:58 Mr Merrick, I'd like you to meet my wife Anne.
20:01 Anne, this is John Merrick.
20:03 I'm very pleased to meet you, Mr Merrick.
20:09 It's by watching David Lynch's film that another director, Jonathan Demme,
20:24 thinks of Anthony Hopkins for The Silence of the Lambs.
20:27 It's about the role of a serial killer, cannibal and machiavellian.
20:31 No one has heard of the Hollywood scenario,
20:34 but Hopkins quickly understands the potential of such a role,
20:37 and shapes the character.
20:39 Black, curly hair, shiny eyes and a strong camisole.
20:43 The mask was all destined for him.
20:46 I didn't want to play the evil side.
20:50 You see, if you're playing a madman, if you play the madness, it's ludicrous.
20:54 How do you play madness?
20:56 So I opted for playing the really super-sane side of him,
21:03 the highly civilised section of Hannibal's mind.
21:08 And then all the evil that he is,
21:10 is there for the audience to make up for their own...
21:13 Good evening, Clarice.
21:17 I thought you might like your drawings back, Doctor.
21:20 Just until you get your view.
21:24 How very thoughtful.
21:27 Or did Jack Crawford send you for one last weedle
21:31 before you both booted off the case?
21:33 No, I came because I wanted to.
21:35 People will say we're in love.
21:42 Let me talk about some of the specifics of that role,
21:45 the noise you make.
21:47 Oh, yeah.
21:49 That presumably wasn't written, that must have come from you,
21:52 I would have thought, or was that Jonathan Demme's idea?
21:55 That happened on the spur of the moment, I just put it in for a joke.
21:59 And I could hear Jonathan Demme laugh, you know, quietly,
22:02 so he didn't destroy the soundtrack.
22:04 And I just did it, it just came to me.
22:08 And I heard him say, "God!" in the corner, he was watching the camera,
22:11 he was on the monitor watching the film.
22:14 And he said, "Cut."
22:16 And he says, "You're so sick, Hopkins."
22:18 I said, "Was it over the top?"
22:20 He said, "Yeah, but I like it."
22:22 So we kept it there.
22:42 Is it true, did you never speak to Anthony Hopkins?
22:45 No, never spoke to him.
22:47 He was scary.
22:49 I mean, the first day we had a reading,
22:51 we had like a little read-through, and we...
22:53 I got there early, and then I went to the bathroom,
22:55 and I came back, everybody was sitting down,
22:57 we did the read-through of the film.
22:59 And by the end of it, I never wanted to talk to him again.
23:02 But you never passed backstage in a corridor?
23:05 No, I avoided him.
23:07 As much as I could.
23:09 I really avoided him.
23:11 I was eating a tuna fish sandwich, it was the last day,
23:13 and he came up to me, and he...
23:15 I guess he sidled up to me, and I said,
23:17 "I don't know, I sort of had a tear in my eye."
23:19 I was like, "I was really scared of you."
23:21 And he said, "I was scared of you!"
23:23 May I see your credentials?
23:25 And by the time that we got into our scenes together,
23:27 he was behind this glass partition,
23:29 and he had to be unscrewed out of the glass partition
23:32 in order for us to communicate.
23:34 Closer, please.
23:36 Closer.
23:39 [indistinct chatter]
23:41 There were a few things that he added in
23:50 that for some reason just sent shivers up my spine.
23:52 There's one moment where Lecter is going on at Clarice
23:56 and saying, you know, "You're just a rube,
23:58 and you're some small-town hick,"
24:00 and he started mimicking my accent.
24:05 And that just really upset me.
24:09 I guess as an actor, I got really...
24:12 It really took me off guard, you know,
24:15 to have the actor who's playing opposite you
24:17 start mimicking the accent that you're using as an actor,
24:20 and he got to me,
24:23 and I think it really shows on screen, actually.
24:25 Do you know what you look like to me
24:27 with your good bag and your cheap shoes?
24:29 You look like a rube,
24:31 a well-scrubbed hustling rube
24:33 with a little taste.
24:35 Good nutrition's given you some length of bone,
24:38 but you're not more than one generation
24:40 from poor, wired trash, are you, Agent Starling?
24:43 And that accent you've tried so desperately to shed,
24:46 pure West Virginia.
24:48 What is your father to you? Is he a coal miner?
24:51 Does he stink of the lamp?
24:53 You know how quickly the boys found you,
24:55 all those tedious, sticky fumblings
24:57 in the back seats of cars,
24:59 while you could only dream of getting out,
25:01 getting anywhere,
25:03 getting all the way to the end of the line.
25:06 I understand monsters, I understand tyrants,
25:09 I understand madmen.
25:11 I don't know what it is, I have a sympathy for them,
25:14 in a strange way.
25:16 I can understand what makes people tick in these darker levels.
25:19 Ah!
25:21 Ow!
25:23 Jesus Christ!
25:25 Ow!
25:27 Ow!
25:30 Ah!
25:32 I need help here.
25:38 Ah!
25:43 Hello.
25:54 So here we are, the, um, Universal Studios.
25:58 Ah.
26:00 This is Dino De Laurentiis' production.
26:03 So we're going into the, um, the original set
26:06 that we had on Silence of the Lambs, where it's rebuilt.
26:09 Hello.
26:11 So this is the return to the original set,
26:15 the jail where they lock Dr Lecter up.
26:19 It's funny being back here.
26:21 We started filming here last week,
26:24 and, uh, this is the car in the bedroom.
26:27 This is the car that Jodie Foster walked down.
26:31 So here we are, back like old times.
26:35 I have to... I can't take any of this too seriously.
26:38 I can't take it seriously at all.
26:40 Anyway, it's fun. It's all a game.
26:42 And these are the cells, and this is where...
26:46 This was...
26:54 Dr Sell.
26:57 So it is odd, to say the least, to be back here.
27:02 [ Speaking French ]
27:05 [ Speaking French ]
27:08 [ Speaking French ]
27:11 [ Speaking French ]
27:14 [ Speaking French ]
27:17 [ Speaking French ]
27:20 [ Speaking French ]
27:22 [ Laughter ]
27:49 [ Speaking French ]
27:51 I'm having some of the Academy over for dinner.
28:06 Care to join me?
28:08 [ Laughter ]
28:10 - Yes, any time. - Any time.
28:12 Good evening.
28:14 Welcome live from the St James' Club LA,
28:17 cuddly cannibal, Anthony Hopkins.
28:20 [ Cheers and applause ]
28:22 Anthony, welcome and congratulations.
28:30 - Thank you, Terry. - Now, one of the reasons
28:33 that I'm interviewing you so far away is because, quite frankly,
28:37 after that movie, I'm fairly apprehensive of you,
28:40 and I imagine that most people
28:42 wouldn't really want to sit beside you at dinner, would they?
28:46 No, they all get up and leave.
28:49 When I go into a restaurant, people just get up and leave.
28:52 No, people don't respond in any different way.
28:55 I tell them I'm a vegetarian.
28:57 [ Laughter ]
28:59 [ Speaking French ]
29:01 [ Speaking French ]
29:04 [ Speaking French ]
29:07 [ Speaking French ]
29:10 [ Speaking French ]
29:36 Let's stop the presses.
29:39 We don't have to change it. We don't have to print it out.
29:42 You have all these years. Every time we pin it down,
29:45 it's another nail out of my coffin.
29:48 We were up in Napa where we started rehearsing this whole big soundstage.
29:55 And he said, "I want us to read the whole book together, loud."
30:00 It took two days.
30:02 He said, "I want us to absorb, all of us to absorb the book."
30:06 It was a marathon to read that book.
30:09 I don't have an analytical mind.
30:12 I'm not a very bright or intellectual man,
30:15 so I have a good instinct.
30:19 And my theory, for what it's worth,
30:22 is to know the text so well, the script so well,
30:26 because the word is powerful.
30:28 That's all I have to do. That's all I'm capable of doing.
30:31 I have a neurosis about not learning lines
30:33 and not being able to remember text.
30:35 One of my actor's nightmares is to show up and not know the lines.
30:38 So maybe I overcompensate, but I find that by learning it,
30:43 it gives me a sense of ease and confidence
30:47 to walk on the set or the stage or whatever I'm doing
30:50 and know that I know that I know how to do it.
30:53 Well, that was a very confined movie to be on,
30:59 but I think for Coppola, brilliant director as he is,
31:03 he's a great controller.
31:05 He controls everything, so you don't get much choice.
31:08 And I fought for my choice to make Van Helsing like an insane madman,
31:12 wanting him to be this uproarious rebel and seer
31:17 and Batman had a scar, fought a duel and all that stuff.
31:22 So I concocted it myself, and now it came out.
31:25 I command you in the name of Christ!
31:28 (SCREAMING)
31:30 No!
31:33 No!
31:36 I had to think I was a rather drunk politician.
31:39 A change of atmosphere and a decisive encounter
31:42 in the career of Anthony Hopkins.
31:44 In 1992, he joined the film crew of Back to Wards End,
31:49 a period film directed by director James Ivory.
31:53 This film would mark the start of their collaboration
31:56 which would follow the vestiges of the day and later, Picasso.
32:00 That's what I like about working in film.
32:03 You just go along with it.
32:05 The more relaxed you are, I think the easier it is.
32:10 I like it this way because it's effortless.
32:14 I learn the lines very, very well and very methodically
32:18 so that I can improvise and make them sound real on each take.
32:23 Scene 59F, take 1.
32:26 So I don't have that sweat or that tension
32:29 by not knowing the lines.
32:31 My relationship to directors has changed.
32:33 I used to fight them, now I don't.
32:35 I think that they do the best they can and I do the best I can.
32:39 They seem to get on fine now, which is a great new change for me.
32:43 My dear Helen, I grieve for your clerk, I really do,
32:47 but it's all part of the battle of life.
32:49 The battle of life? Yes.
32:51 The man who had little money has less, owing to us.
32:54 Come, come. Anyway, you're not to blame. No-one is to blame.
32:57 No-one? Oh, is no-one to blame, then?
32:59 I didn't say that. You take things far too seriously.
33:03 My dear Helen, I grieve for your clerk, I really do,
33:08 but it's all part of the battle of life.
33:10 The battle of life? Yes.
33:12 The man who had little money has less, owing to us.
33:14 Oh, come, come. You're not to blame. No-one is to blame.
33:17 No-one? Is no-one to blame for anything?
33:19 I didn't say that. You take things far too seriously.
33:22 How did you get a handle on the character you played in that?
33:25 It was the moustache that did it. Ah. Yeah.
33:28 So I went to the make-up room and they said,
33:30 "Would you wear a moustache?" I said, "I haven't grown one, no."
33:33 She said, "Well, I've got one for you."
33:35 I said, "OK, well, let's put it on."
33:37 I said, "There's the man."
33:39 And it made me feel like my grandfather, my father's father,
33:42 was a strict Victorian, and I looked at it in the mirror and thought,
33:45 "That's him!" And it did something to my eyes,
33:47 it did something to my face, it gave it a sort of edge
33:50 and it made my eyes stand out.
33:52 I thought, "This man is a ruthless man and he's a tough man."
33:55 And I could see him in the dark suit.
33:57 So I didn't have to do much work on top of that.
34:00 There's Henry Wilcox. Our Henry.
34:03 I called it the mask.
34:05 It doesn't even have to be make-up, it can be a pair of shoes,
34:08 or it can be a jacket.
34:10 I remember in Remains of the day,
34:12 my first day was wearing a raincoat, because it was raining.
34:16 And getting into a car and then turning up on the location,
34:19 and I looked in the mirror and it was my own grandfather
34:22 looking back at me.
34:24 He used to wear a coat like that, and a green felt hat.
34:28 And I looked, I thought, "That's him!"
34:30 And I felt everything transform inside me slightly
34:33 and it all came to life.
34:35 You must take good care of yourself, Mrs Len.
34:40 You too, Mr Stevens. Promise me that.
34:42 Oh, yes, I promise.
34:44 You must try to do all you can to make these years
34:47 happy ones for yourself and for your husband.
34:50 I don't know why I play those repressed men.
34:52 Maybe I am like that, I don't know.
34:54 I'm pretty shy. I'm not...
34:56 very gregarious.
34:58 I'm not gregarious at all, really. I have very few friends.
35:02 But I'm happy in my...in my way.
35:05 I like to be on my own a lot.
35:08 I'm married and have a wife and a few friends,
35:12 but I prefer my own company.
35:14 Most of the time.
35:16 So maybe that's why they cast me in these strange parts.
35:19 Anthony Hopkins and Emma Thompson
35:21 meet in the vestiges of James' Ivory
35:24 a year after their return to Howard's End.
35:27 In this film, they play a majority man and a ruler
35:30 caught in a silent love affair,
35:32 subjected to the weight of the conventions.
35:35 Hopkins then slides into the skin of his most introverted,
35:39 subtle and almost ghostly character of his career.
35:42 I'm invading your private time, am I?
35:44 Yes.
35:46 What's in that book?
35:48 Come on, let me see.
35:50 How are you protecting me? Is that what you're doing?
35:54 Would I be shocked?
35:57 Anthony Hopkins is the perfect repressed English gentleman
36:01 because he has all the niceties on the outside.
36:03 He knows how to be presentable and how to be...
36:06 to, you know, bring tea properly,
36:09 and yet you never feel a coldness.
36:11 You always feel that underneath there's this terrifically warm,
36:14 big, beautiful heart that yearns to come out.
36:17 And that's when those movies really work,
36:20 when those very sort of prissy English characters
36:23 aren't just what they are on the outside,
36:25 but you can intuit that inside is somebody who's really yearning
36:29 to get beyond this Victorian repression.
36:32 I read these books,
36:34 many books,
36:36 to develop my command and knowledge of the English language.
36:40 I read to further my education, Miss Kenton.
36:46 But there are a few things you do in Howard's End,
36:49 which struck me as being not only brilliant and very moving,
36:52 but also I can't imagine they were in the script.
36:54 In particular, the character you play, Mr Wilcox. Yeah.
36:57 There are two events in the movie
36:59 when he's talking about something shameful in his past,
37:02 and both times he does not wish to be looked upon.
37:05 He doesn't want to make eye contact with his wife.
37:07 He kind of hides his face away.
37:09 Do you remember those? I did, no. Yeah.
37:11 So you were that woman's lover?
37:16 You put it with your usual delicacy, yes, I was.
37:19 When?
37:20 When, please? Ten years ago.
37:23 I'm sorry, ten years ago.
37:27 I don't know, maybe I'd seen it in a movie somewhere.
37:30 I think Charles Laughton did it in Hunchback of Notre Dame
37:33 or something, he hid his face.
37:35 It may have been... I think it was that.
37:37 Maybe I stole it. It's a good piece to steal.
37:40 He said, "How ugly I am," and he put his figure.
37:44 I think I stole that.
37:45 It's a wonderful moment, and it really breaks through as well.
37:48 Oh, and then he breaks down, doesn't he, at the end?
37:51 He couldn't bear to be seen crying.
37:53 Yes, showing of emotion.
37:55 I'm sorry.
37:56 I think that's why I have a lot in common with these characters.
38:00 I don't like bearing emotion much.
38:02 Maybe it's a British thing, maybe it's a male thing.
38:05 I don't like it, I don't like displays of tears and...
38:08 Ugh! You know.
38:09 # #
38:16 But I don't feel like an actor.
38:18 I don't know what the hell an actor is.
38:20 I feel like I'm a member of the circus most of the time.
38:23 You travel around the world, you travel around,
38:26 you arrive in cities and arrive on locations,
38:29 do the job and then go home.
38:31 As I get older, I just feel...
38:34 ..that's all I do is a job.
38:38 It's nothing more, nothing less.
38:40 It happens to be well paid and it's public.
38:43 And I have my father's attitude, it's like my father's inside me now.
38:47 And the more I see photographs of myself sometimes,
38:50 then I look just like my father.
38:52 And he's alive and well in me, I think.
38:55 I have his attitudes, his values and all the rest of it.
38:59 He had a tough life and I've had a very easy life, comparatively.
39:03 Actually, I've had a very easy life, period.
39:06 I'm just one of those very fortunate ones.
39:09 I tend to be very unpredictable and moody.
39:16 See, I go into situations and say, "Oh, hi there, hmm."
39:20 I want to be liked, so I go into a movie set or to a new play or whatever.
39:25 And I'm Mr Friendly, Mr Nice Guy, because I want to be liked,
39:29 I want to be pleasant to everyone.
39:31 And then suddenly somebody steps on my toes
39:34 and I go off like a firecracker.
39:36 Got to see him on a couple of cranky days
39:39 when Sir Tony would turn cranky.
39:41 That was good fun, very entertaining.
39:44 And I'm telling you, when Tony's cranky, the Red Sea parts...
39:48 In fact, forget Moses, if I was casting God,
39:52 I would cast Sir Tony, Sir Anthony Hopkins.
39:56 He has a force.
39:58 It's a romantic fantasy I have of the loner.
40:04 The lone wolf who...
40:06 The lone person who doesn't need any affection.
40:09 That's part of my life, actually.
40:11 I think I can do very well without affection and love.
40:14 It doesn't bode well for a good life, a full life.
40:19 But I am capable of withdrawing from people and closing myself off.
40:23 Maybe it's a form of martyrdom.
40:26 I used to turn savagely on people.
40:31 I'd get rid of people, get rid of friends.
40:34 They wondered what had happened.
40:36 And then recently, last year, I guess, something changed in me.
40:40 I thought, "Life's too short to do all this."
40:43 I have a few friends and I'm very lucky to have them in my life.
40:47 Really lucky.
40:48 Because they see me walking straight into the jaws of hell
40:52 because I am naive, I am easily taken in by people.
40:55 And that's my main fault, I guess.
40:57 My main defect is that I'm very naive.
41:01 I'm told that I have a nature which is complex.
41:05 I don't feel complex, actually. I feel quite as simple to me.
41:08 Anthony Hopkins grew up thinking he wasn't worth much.
41:15 In Port Talbot, in Wales, he was called "Dumbo".
41:18 A closed-off child, without any particular talent.
41:23 Even if he never thought about taking revenge on life,
41:27 he managed to find a place in a Hollywood that likes to stereotype its actors.
41:31 He draws his strength and talent without going into any mold.
41:36 The proof is that in "Liverstone", against all odds,
41:43 he chooses him, Hollywood's most English actor,
41:46 to play the American guy by transforming himself again,
41:49 but this time in the role of President Nixon.
41:53 (SIGHS)
41:55 He was scared shitless.
41:59 Because, "How can I be Nixon? They're going to see me as a fraud.
42:04 "I'm... I'm... You're Welsh. You're not English, you're Welsh.
42:07 "There's a big difference." I said, "You're halfway there already.
42:10 "You're in the Atlantic anyway. You're kind of... You're not far."
42:13 I said, "There's something in your spirit which is obstinate, stubborn,
42:17 "and yet has a great misunderstood quality."
42:20 "Fighting, buddy, for the country.
42:22 "These people running things, the elite,
42:25 "they're just soft chicken shit faggots.
42:28 "They don't have the long-term vision any more.
42:32 "They just want to cover their ass and meet girls and tear each other down.
42:36 "Oh, God, this country's in deep, deep, deep trouble, buddy."
42:40 I got into the psychology of the man. I understood his paranoia.
42:43 I understood his loneliness, his terrors, his bleakness of life.
42:50 And the lies he told.
42:52 He was caught in a morass of such lies.
42:56 And I felt sorry for him, because he was always the outsider.
43:01 When they look at you, they see what they want to be.
43:17 When they look at me, they see what they are.
43:22 Well, I had no illusions I was going to be Cary Grant or Robert Redford,
43:29 and any moment I did try to do something like that,
43:32 or someone said, "This is a..." That sort of part's going to be...
43:36 I knew I was what they would call a character actor, a lie.
43:44 I was always very chunky. I'm not a leading man actor.
43:47 I'm not Brad Pitt or Robert Redford or Tom Cruise.
43:52 Those are leading movie stars. I'm not a movie star. I'm a movie actor.
43:56 And it was in a meeting with Joe Black in 1998
44:00 that the actor completely changed his mind
44:02 by playing a billionaire at the end of his life,
44:05 facing Brad Pitt, who embodies death, coming to get him for his last journey.
44:11 The question...
44:14 Am I going to die?
44:21 Yes.
44:33 It's the second time the two actors have met on a movie set,
44:37 four years after playing together in Autumn Legend.
44:40 There's no actor on one side and no star on the other,
44:43 but rather two generations looking at each other in the mirror.
44:46 Their duo makes of this film, often underestimated by critics,
44:51 an astonishing allegory on life and death.
44:54 Who am I?
44:59 Who am I?
45:01 Death.
45:13 How would I want to be remembered?
45:15 I certainly don't want any longer to be remembered as that nice guy,
45:19 you know, the guy who does the Tommy Cooper jokes anymore.
45:22 I don't want to be that anymore.
45:24 I don't really give a damn.
45:27 I don't give a damn.
45:30 Should I be afraid?
45:39 Not a man like you.
45:53 In 2001, he returns to the cell that made him an icon.
45:57 Ten years after The Silence of the Lambs,
45:59 Anthony Hopkins puts on Hannibal Lecter's mask again
46:02 and plays in the other two parts of the trilogy, Hannibal and Red Dragon.
46:08 I did have some misgivings about doing this third one
46:13 because I thought, "Well, I've done it now.
46:15 "I can't get any more mileage out of it,"
46:17 because it becomes boring and tedious.
46:19 I thought, "Well, wouldn't harm to do one more."
46:24 As long as I'm more of a background figure, I think,
46:27 more of a shadowy figure.
46:29 You can't go on hitting the bull's-eye all the time.
46:32 You're going to make some bad films.
46:34 And I've made a number of bad films
46:37 and probably, maybe on one hand, maybe four good films.
46:41 Most of the ones I've been now are mediocre.
46:44 I have a terrible lie. I tell my agent, "Yes, I've read the script."
46:51 And then I wake up after they've committed me and say, "God almighty."
46:55 I did that recently on The Thing Called Bad Company.
46:57 I thought, "What the hell have I done this for?"
46:59 But I tend to do that because I'm stupid or greedy or impatient,
47:02 and I think if I don't say yes, they'll give it to somebody else.
47:05 Those are my motives.
47:07 That's how, what a refined actor I am, how I've planned my career.
47:10 Anthony Hopkins goes from one set to another in the 2000s.
47:14 He follows blockbusters like Thor or even Transformers,
47:18 then he returns to what he knows best in the biopic Hitchcock,
47:22 in which he brings back the famous genius of English suspense,
47:25 Sir Alfred Hitchcock.
47:27 The film highlights the influence on the work of the master,
47:30 his wife Alma, played by Hélène Myrène.
47:33 Just think of the shock value.
47:36 Killing off your leading lady halfway through.
47:39 I mean, you are intrigued, are you not, my dear?
47:44 Come on, admit it. Admit it.
47:48 Actually, I think it's a huge mistake.
47:52 You shouldn't wait till halfway through. Kill her off after 30 minutes.
47:59 30 minutes.
48:00 Wow.
48:03 Hitchcock happily listened to his wife
48:08 and killed his heroine after more than 30 minutes of film.
48:11 The shower scene has become a cult today.
48:14 More! More!
48:16 You can go!
48:18 Come on!
48:20 No!
48:21 More anger!
48:22 All right, cut, cut, cut!
48:25 For God's sake!
48:27 Will someone get me a proper stuffed double?
48:30 Now, give me the knife!
48:31 My dear!
48:32 SCREAMING
48:34 Ungovernable rage!
48:36 SCREAMING
48:38 Hold it tight, you scum!
48:41 You've never really done anything as good as Psycho, have you?
48:46 Psycho?
48:47 Shall I tell you a story?
48:49 Somebody asked me for my autograph once
48:51 and I went up and signed this autograph and she said,
48:54 "You don't look anything like you did in Psycho."
48:56 Is it just the name? Hopkins Perkins?
48:58 Hopkins Perkins. I think they get it.
49:00 Actually, I promised you that.
49:02 I was down in Bristol, I was filming with Lesley-Ann Down.
49:06 The assistant director said,
49:08 "The station master's wife would love to see you.
49:11 "She's a great fan of yours."
49:12 I said, "Oh, well, show me the way."
49:14 So we went in there and I said, "Well, where is she?"
49:17 And she said, "Oh, you don't look anything like you did in Psycho."
49:20 So I ripped her curtains off and stabbed her with my bio.
49:25 You signed the name Anthony Perkins.
49:27 That's right.
49:28 So anyone who says it's lonely at the top
49:40 either needs a good psychiatrist or a kick in the arse.
49:43 It's nice being successful. It's good.
49:46 It's very, very good.
49:48 Fucking good, yeah.
49:50 I enjoy it.
49:52 Have a good life, have a lot of fun, no regrets, no complaints.
49:56 If it all ends in tomorrow, so be it.
49:59 I've had a good time.
50:01 I was very surprised by the knighthood.
50:06 Very, very surprised, very honoured.
50:08 I didn't know what...
50:10 My wife phoned me up, I was down in Bath doing remains of the day.
50:14 She phoned me, she said, "You've been given a knighthood."
50:17 I said, "What for?" She said, "I don't know."
50:19 I didn't know, I was quite speechless for many days.
50:22 Of course I was sworn to secrecy, you're not supposed to tell anyone.
50:25 But it was a great honour.
50:27 I try to wear it as comfortably as I can.
50:31 If people call me Mr Hopkins instead of Sir Anthony,
50:35 I don't have a conniption fit.
50:37 I'm very happy with what everyone...
50:39 In America they say, "Sir Hopkins."
50:41 I say, "Just call me Tony," because they get it all wrong there.
50:44 But, you know, it's very, very nice.
50:48 MUSIC PLAYS
50:51 I've been asked to write a biography, an autobiography,
50:57 and I haven't a clue, and I keep doing it,
50:59 and I keep deleting it all from the computer.
51:01 I look at it, "What am I writing all this stuff for?"
51:03 Because I don't want to go back to the past,
51:05 I don't want to go back and examine my childhood.
51:07 I had a perfectly fine childhood.
51:09 I had a confused school career, but that was all.
51:12 I mean, nothing really untoward has happened to me.
51:15 I drank a bit too much, stopped doing that,
51:17 and then my life really started to take flower then.
51:21 I get out of the morning, out of bed, and I'm getting old,
51:24 and I get out of bed and I go, "Oh, I should..."
51:27 "Right, move!" I get up and I think, "Right, I'm alive."
51:31 Life's in session, it's not a rehearsal.
51:33 "Move!" That's what I do.
51:44 And now I can make some bad films and it doesn't matter any more.
51:47 I don't have to prove it.
51:49 It's like all those little doubts that started way back when I was a child.
51:53 It's like a voice inside me says, "See, you weren't that dumb."
51:57 "You were just different."
51:59 Cut!
52:01 APPLAUSE
52:04 # #
52:07 # #
52:10 # #
52:13 # #
52:17 # #
52:20 # #
52:23 # #
52:26 # #
52:29 (upbeat music)
52:31 [MUSIC PLAYING]