Jude Law takes a walk down memory lane as he rewatches scenes from his classic works including 'The Talented Mr. Ripley,' 'A.I. Artificial Intelligence,' 'Closer,' 'The Holiday,' 'Sherlock Holmes,' and 'The Grand Budapest Hotel.' Jude dishes on ending up with a broken rib while filming the boat scene in 'The Talented Mr. Ripley,' some behind-the-scenes details from 'The Holiday' and so much more.Roadside Attractions will release FIREBRAND only in theaters on June 14th, 2024. https://firebrandmovie.com/Director: Adam Lance GarciaDirector of Photography: Mar AlfonsoEditor: Richard TrammellTalent: Jude LawProducer: Madison CoffeyLine Producer: Romeeka PowellAssociate Producer: Lyla NeelyProduction Manager: Andressa PelachiProduction Coordinator: Elizabeth HymesTalent Booker: Meredith JudkinsCamera Operator: Miguel ZamoraGaffer: David DjacoAudio Engineer: Sean PaulsenProduction Assistant: Alexis AlzamoraSet Designer: Jeremy Derbyshire-MylesPost Production Supervisor: Christian OlguinPost Production Coordinator: Scout AlterSupervising Editor: Doug LarsenAdditional Editor: Jason MaliziaAssistant Editor: Andy Morell
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LifestyleTranscript
00:00The fact that they both were sort of oddballs,
00:02that they probably should have been married at that point,
00:04or why weren't they?
00:05And why were they living in this scuzzy little flat,
00:07you know, with a landlady?
00:09Oh, my God.
00:10This is fun, actually.
00:11I mean, I haven't seen this in so many years.
00:14Hello, I'm Jude Law.
00:16And today I'll be watching some scenes
00:19from throughout my career,
00:20most of which I haven't seen in many, many years.
00:24So this will be quite intriguing for me
00:27and hopefully for you.
00:28Here we go.
00:30So I love it here!
00:43Yeah, I'm gonna move here!
00:45Beautiful.
00:47So this is my final scene.
00:50I wanted to tell you my plan.
00:54I haven't seen this in so many years.
00:56I'm being, like, flooded with memories.
00:58First of all, what a location.
01:00I mean, that was the experience throughout this whole film.
01:02Couldn't quite believe how beautiful everywhere was.
01:06I thought I'd come back in the new year under my own steam.
01:10Really?
01:10My God, we're really young.
01:14So this is 26 years ago, I think.
01:17I'm shocked at how young we are.
01:18I remember rehearsing this scene.
01:20Anthony insisted on having that boat
01:22or a similar size boat brought into Cinecitta,
01:25the film studio in Rome.
01:27And we rehearsed it in quite full detail,
01:30obviously without the movement.
01:32So once we were out there,
01:33it was suddenly quite shocking
01:35how much chop there was in the water.
01:37And so standing up and things like that
01:39were really suddenly quite hairy.
01:41I got a place in Rome,
01:42and then when we're there, we could be there.
01:44And then when we're here, we could be here.
01:46I don't think so.
01:47Obviously, we spent days out just drifting
01:51and being followed by another small boat
01:54with the whole team on it.
01:56They'd stick the boat on the end of another boat
01:58so they could film in one direction and control it,
02:00and then flip the boat around and do the same
02:02with our boat sort of sticking out the end,
02:05if you see what I mean.
02:05So you got movement,
02:06because also you're still fighting horizon.
02:08We didn't want any modern liners.
02:10You didn't want ocean liners.
02:12You didn't want any land and so on and so forth.
02:14See, particularly with the marge problem,
02:18you just blame me.
02:20The marge and I are getting married.
02:22I think what's coming back is this sense of
02:25nuance and detail
02:27that stems to the discussions that we all had with Antony
02:31and how prepared we were.
02:32How?
02:34How?
02:35Yesterday, you were ogling girls on the terrace.
02:38Today, you're getting married?
02:38That's absurd.
02:41I love marge.
02:43It's just reminding me of all these weird little shifts
02:45that I remember Antony wanting to draw out of the piece.
02:49Misunderstandings of intimacy,
02:52the misunderstandings of emotions.
02:54You love me.
02:55You're not marrying me.
02:56I just remember going into that
02:57with such a fine-tubed comb in rehearsal.
03:00And so seeing it kind of pop out
03:02is really rewarding, actually.
03:04I'm really, I'm quite surprised
03:06how much we're getting in to one small moment.
03:09Tom, I don't love you.
03:10No, I don't mean that as a threat.
03:12To be honest, I'm a little relieved you're going.
03:14Dickie's never going to go there.
03:16The type of young man he is in that period of time,
03:18there's no way he's going to ever open a door
03:20to any kind of recognition of homoeroticism
03:25or that kind of a relationship.
03:27I remember Antony also giving me a phenomenal note.
03:29Something to do with like, you know,
03:31having someone come to stay,
03:32but you never liked them more
03:33than when you're driving them to the airport.
03:35That kind of like, you know,
03:36it was great having you.
03:38I really can't wait to see you again.
03:40I know there's something.
03:41That evening when we played chess, for instance,
03:44it was obvious.
03:45What evening?
03:45Oh, sure.
03:46No, no, it's too dangerous for you to take on.
03:48Oh, no, no.
03:49Well, we're brothers.
03:50Hey.
03:51Ant had a really interesting idea
03:53that he wanted the choice for Tom to kill Dickie
03:58to be self-defense
04:00and a moment of explosive
04:03rather than premeditated violence.
04:06And he also wanted Dickie to be ruined in some way.
04:09And he thought the best way to do that
04:10was to take his, like, his face.
04:13He said, wouldn't it be great if he could hit you
04:15and you kind of look at him for a moment
04:16and then your face just falls in half.
04:18Can't move without Dickie, Dickie, Dickie,
04:20like a little girl all the time.
04:24Here we go.
04:25So he looks off.
04:27Nothing.
04:28And then his head just goes.
04:32They did it with an actual effect.
04:34So I was wearing a prosthetic
04:35that they pressed a little button
04:37and the whole thing just goes.
04:38He wanted that as the sort of instigation
04:40of Dickie's fury at Tom.
04:42Here we go.
04:43And then Tom's response to Dickie's fury.
04:46And also, interestingly,
04:47I suppose his idea was that would ultimately
04:49have been the end of his kind of life
04:50as beautiful Dickie anyway,
04:52because half his face would have been.
04:53Which it was an interesting choice.
04:55He sort of thought, oh,
04:56this sort of beautiful life was over.
05:02Whenever you shoot a fight,
05:04there's always a kind of,
05:05first of all, emotionally,
05:06you're winding yourself up
05:07so that you can play it emotionally
05:09as well as physically.
05:10And there's always a sort of an extra 10, 15%
05:14that comes out of you when you call action,
05:17which, you know,
05:18gives you a margin of error and the unknown.
05:26And we were throwing each other around in this
05:28and there was no padding.
05:29It was a kind of wooden boat.
05:30So Matt may have got injured,
05:32but he certainly broke my rib.
05:34You know, it's just one of those things that happens.
05:44Is it real?
05:46I don't know, David.
05:47God, I haven't seen,
05:48I mean, I haven't seen this-
05:49Is it coming?
05:50In like 15 years.
05:52I can't tell yet.
05:54We filmed this in the,
05:56is it called the Spruce Goose Dome?
05:59There's a huge hangar outside of Los Angeles
06:03where they kept the Spruce Goose,
06:04which was the biggest airplane,
06:06I think, ever built.
06:07And they built this forest in there
06:08and they built the flesh fair in there.
06:11You know, most directors want more time,
06:13you know, give me more schedule to shoot this stuff.
06:15And only Steven Spielberg said,
06:17I can shoot all that in half the time.
06:18And they cut the whole thing down
06:21because he was so prepared.
06:22I mean, it was remarkable.
06:23I'd never, ever experienced the sort of pace
06:27and vision that he had.
06:29I mean, he was editing in his head as he was shooting.
06:32So if you came to a moment in a scene
06:34which he knew he was going to cut from,
06:36he'd just cut and move.
06:37And I mean, it's like a kind of cinematic genius.
06:41Is Blue Fairy Mecca, augur man or woman?
06:44Woman.
06:47Woman.
06:51I know women.
06:52Steven is incredibly good at encouraging you
06:56to go away and be creative.
06:57And he's very open to ideas.
07:00So I was in London prepping for quite a month,
07:04if I remember rightly,
07:05with a choreographer called Fran James.
07:08I don't know that I went in specifically
07:10to learn to sort of move like a robot or anything.
07:14They sometimes ask for me by name.
07:16I think the discussion had already been had
07:17that maybe he had music coming out of him
07:20to seduce people or to create an ambience.
07:24And I remember the discussion between Steven and I
07:28that maybe he just had the CD player or something in him.
07:30So the whole click came in.
07:32No two are ever alike.
07:34And after they've met me,
07:35no two are ever the same.
07:38And I know where most of them can be found.
07:40The prosthetics started out as being the great veneal.
07:43They took a mold of my face,
07:45built a prosthetic and then stuck it back on my face.
07:47But it was too restrictive
07:49and it kind of looked too plasticated.
07:52So they kind of reduced it down to brow and nose and chin.
07:55And we ended up actually just using a piece on the chin
07:58and a tiny piece on my nose.
07:59With a little lady shave,
08:01we took all the hair off my face,
08:03all the fluff and sprayed in this hairline.
08:06And most of that is just this very, very thick makeup
08:10that gives me that kind of plastic-y look,
08:11which they would then polish.
08:13I mean, I remember constantly coming in buffing my face.
08:16It was a nightmare for my hands though
08:18because they shaved everything off my hands as well.
08:20And it all grew back like twice as thick.
08:23My customers may ask for me by name.
08:26Gigolo Joe, what do you know?
08:28Somewhere in there, this idea of Gene Kelly and Fred Astaire.
08:32And so I worked with Fran on dance.
08:34And weirdly, the sort of combination of dancing
08:38and robotic movements and mannerisms,
08:41for example, the way he walked would always be the same.
08:44And so we kind of created something that was fluid.
08:46My eldest son was three when I was making this
08:49and my daughter was born.
08:50So I really remember, I really loved working with Hayley.
08:53First of all, because he was a kid
08:54and I was in that sort of,
08:55in a very familial place with my babies.
08:59And he was so astonishingly good.
09:02Kids are either being kids
09:04and you kind of capture them being themselves
09:06or they're really performing.
09:08And he was able to just take notes
09:10like a really mature actor.
09:12And it was this sort of really odd mix
09:14between kind of goofing around talking about,
09:16I don't know, the Simpsons
09:18or some funny thing he had done on the weekend.
09:20And then also really being able to play
09:22these characters opposite each other.
09:24And he really engaged.
09:26And he had a lot to deal with
09:27because, you know, the teddy,
09:29Stan Winston had built this incredible
09:30remote control teddy bear,
09:31but also it needed puppeteers
09:33and that takes a lot of time.
09:35Fun, obviously for a kid,
09:37but also time-consuming.
09:39And he was just so present and so brilliant.
09:47Are you all done?
09:50How's the photographer?
09:51Good. Professional.
09:53Gosh, look how little Natalina is.
09:54She's a baby.
09:55I need one of your lot.
09:56What, female?
09:57Americana.
09:58Reflecting on this film,
10:00it is one of the few where,
10:04quite honestly, the script was
10:06so incredibly good and considered.
10:10There was such a simplicity to its device,
10:12which is, you know,
10:13moments in these people's lives
10:15when they meet
10:16and moments when they split up.
10:18And when they meet and when they split up,
10:20these really specific key moments
10:22in their lives, in their love lives,
10:25that had such a sort of raw and familiar tone
10:29and taste and covered territory
10:31that anyone who's been in a relationship
10:33has sort of been through,
10:34that really one had to just give oneself
10:36to the drama, to the text.
10:38Anna?
10:44Alice.
10:45This is where Patrick Marber is so brilliant.
10:47He's playing the awkwardness.
10:50What Mike did so brilliantly
10:51was create an environment of trust
10:55and vulnerability and openness
10:57by being so open about his own past
10:59and his own loves and personal dramas,
11:02that it meant that we were all connected
11:06and safe and able to do the same
11:08through the drama.
11:09It wasn't a piece,
11:10which I remember having to do work,
11:12where I thought,
11:12OK, plan this character's emotional arc,
11:15plan this character's emotional response,
11:18because that was already
11:20in the map of the script.
11:21It was more a case of turn up
11:23and be honest to the moment
11:25that the script is directing you in.
11:26And when you're working opposite,
11:28brilliant actors who are doing the same,
11:30and they're all there,
11:30and they're all willing to be brave and open,
11:34it's the best kind of play
11:37you can experience as an actor.
11:39Will you take my photo?
11:41I've never been photographed
11:42by a professional before.
11:44I'd really appreciate it.
11:45I can pay you.
11:47No, I'd like to.
11:49Only if you don't mind.
11:51Why should I?
11:52I think I'm quoting someone else
11:54when I say that it's like a sport,
11:56like you play at your best
11:57when you're playing someone
11:59really, really good, right?
12:00They raise your game.
12:01Well, the same applies in acting.
12:03And what I've also found
12:05is that the best actors
12:07are also usually very collaborative
12:10and open
12:12because the key to acting is listening.
12:14It's not, you know,
12:15I think people assume
12:16it's what am I going to do with my role
12:18rather than listening
12:19to what the other person's doing,
12:21which engages you immediately.
12:23She is beautiful.
12:24I've got to see you.
12:25No.
12:26What's this?
12:27Patriotism.
12:28I don't want trouble.
12:29I'm not trouble.
12:30I never quite understood
12:33the final footnote of Patrick's story,
12:35which is that she's never told him the truth,
12:38that actually Alice isn't Alice at all.
12:40She dies in the play
12:43and we reconvene and we talk about it
12:45and sort of confess our,
12:47the repercussions of having learned
12:49about that death.
12:50But the lie is a really interesting one,
12:52which if I remember rightly,
12:53the lie remains in the film.
12:55I see the name Alice as on a pluck,
12:58which immediately makes you think,
12:59do you ever know anyone?
13:00You know, is the person in front of you
13:01that you're in love with
13:02really the person that they're telling you they are
13:04or promoting that they are?
13:16So first of all,
13:17my memory is that
13:18this was one of the first things we shot.
13:21It was literally the only time
13:23we were all together at the same time.
13:25Because there's no other parts of the film.
13:26So it was one of the,
13:28I'm going to say,
13:28I mean, I remember hanging out with the others.
13:30I mean, Kate and I certainly did
13:32because we had kids about the same age
13:34and Jack I remember hanging out with,
13:35but I remember it being,
13:37it was an odd occasion.
13:38It was kind of exciting.
13:39Apart from anything,
13:40it was meant to be New Year's Eve, right?
13:41So we'd shot all the exteriors in the UK.
13:45They built the interiors in LA.
13:47We moved to LA
13:48and I wasn't in the first four weeks filming
13:51and then we went behind.
13:52So I was just in LA for two months
13:55and got tan.
13:56I get very tan if I even look at the sun.
13:58There are slight differentiations
14:00between my skin tone,
14:02between the interior and exterior.
14:04There were obviously moments
14:04where the kids were there with us,
14:06but then I remember
14:07there being big sections of this scene.
14:09The children weren't around.
14:10So we were having to respond
14:12as if the kids were doing stuff.
14:13So I think that was one of them.
14:15Us watching Kate and Jack
14:17kind of kiss and cuddle.
14:19Nancy would say,
14:20oh, the kids might be kind of making fun of that.
14:23So us responding,
14:24like going, shh, shh, shh.
14:25All of that was sort of,
14:26we're pretending the kids are in the room.
14:30I just remember this being so much fun.
14:32This is just fooling around,
14:34you know, to music
14:35and pretending you're having a great time
14:36when you are having a great time.
14:38I remember having conversations with Nancy early on
14:40and her referencing
14:42really classic romantic comedies
14:44that Tracy and Hepburn
14:47and Cary Grant
14:48and going back and looking at those.
14:50And that was absolutely,
14:51we were trying to emulate that
14:53with a modern twist.
14:55And I think those types of films
14:58really do affect people.
14:59There's this sort of honesty
15:00and good cheer to them
15:02that make people feel good.
15:04And obviously it has a Christmas theme,
15:06which means it comes round annually
15:08and people therefore kind of like
15:09to recreate things ritualistically.
15:11But I'm thrilled that I'm in something
15:12that people go back to time and time again.
15:15The number of films I've made,
15:17you know, not a lot of them
15:18have had that response.
15:27There's one odor I can't quite put my finger on.
15:30Is it candy floss?
15:31Molasses?
15:32Maple syrup?
15:34Barley sugar?
15:35Toffee apple.
15:38In a very polished way,
15:39we were making it all up as we went along,
15:42which was just the dynamic
15:44that was the kind of alchemy of this film.
15:46To say that it was the three of us,
15:48Guy, Robert and I, is not true
15:51because, of course,
15:52there were all these other inputs.
15:53But it felt very much like
15:55the three of us would go in
15:56and look at what we had to do for the day
15:58and we'd play for a couple of hours
16:00and try stuff.
16:01And, you know, Robert is exceptional
16:04at coming up with ideas and moments.
16:06And Guy, obviously, is a writer
16:08as well as a director.
16:09And so we would sort of play
16:11and then reduce, reduce,
16:12and that would be what we'd shoot.
16:14But we'd always have alternatives and ideas.
16:17And things just in the moment,
16:18so things like coming up with a candy apple
16:20because the guy's got one
16:22and he's just been talking
16:23about a scent somewhere else
16:24was just a funny, silly idea.
16:26That's why I started laughing.
16:35We always wanted to differentiate
16:36the styles of fighting
16:38between Watson and Holmes,
16:39that Holmes was more controlled
16:41but equally usually in deeper trouble.
16:43Watson was a bit more of a brawler,
16:46a bit of a pugilist, but a soldier,
16:47so kind of tough guy
16:48but not necessarily as refined.
16:51And we wanted it to look plausible,
16:53like, you know, not sort of big
16:55special effects fights
16:56but using saucepans and hats
16:58and head-butting people
17:00and just like rough and ready.
17:01And then also intertwining the humor.
17:04Robert and Guy were absolutely brilliant at this.
17:09The elements of the film
17:10were very much in line
17:12with the elements that I really wanted
17:13to bring out of Watson
17:15was that he was writing the books.
17:18So it was his observations,
17:19it was his translation
17:21of what was happening.
17:22What was it like to really live with this guy
17:24rather than the genius
17:25which you might add in the book
17:26or rather than the great cases
17:28and the way he would,
17:29you know, did his socks smell?
17:30Did he wash up?
17:32Did he use my clothes?
17:34All the funny stuff
17:35of kind of the odd couple,
17:36which I thought was just humorous and real.
17:38The fact that they both were
17:40sort of oddballs,
17:41that they probably should have been married
17:42at that point
17:43or why weren't they?
17:44And why were they living
17:45in this scuzzy little flat,
17:46you know, with a landlady?
17:49All of those truths,
17:50you know, the idea that through Watson's eyes
17:52he was sort of looking at it
17:54as an author thinking,
17:55this is a very good story.
17:56Maybe I can pen that, you know.
18:03Who's this interesting old fellow?
18:05I inquired of Monsieur Jean.
18:07To my surprise,
18:08he was distinctly taken aback.
18:10Don't you know?
18:11He asked.
18:11Don't you recognize him?
18:13Lots of things come back here.
18:14Jason and I had worked together
18:16on I Heart Huckabees
18:17and had gotten on very, very well.
18:19He's just a delightful
18:20and beautiful man
18:23and so I was really excited
18:24that it was he and I.
18:25Monsieur Jean signaled to me
18:26and I leaned closer.
18:28I'll tell you a secret.
18:29He takes only a single bed sleeping room
18:31without a bath
18:31in the rear corner of the top floor
18:33and it's smaller than the service elevator.
18:35I believe other than Tom Wilkinson,
18:38the late Tom Wilkinson sadly,
18:40we were the first up.
18:42We would have dinner every night
18:43so there was already this real intimacy.
18:46I was a really big fan of Wes's films
18:49and really just understood the world
18:51and just really wanted to be in it
18:53and I actually wrote to him saying,
18:54I really want to be in that world
18:56and he asked me to come along.
18:58So stepping into the style
19:01and the tone of his films
19:04felt pretty straightforward
19:05because it was something that I had admired
19:08and wanted to be a part of.
19:10This is a really interesting moment.
19:11So I remember shooting this
19:13and it was my first lesson
19:14in how specific he was
19:16because Jason's to my right.
19:17Now normally you just sort of look like that,
19:19you know, if you're talking to someone
19:20and he wanted me to look like that
19:22because he wanted my profile
19:23because that's how sort of specific he is.
19:26Like cut.
19:26No, you've got to really look round like this
19:28and then so all the angles
19:30are very, very considered
19:31which again is why they're so famous
19:34for their design and for their style.
19:35For example, that set was just a flat
19:38with a projection on the back.
19:40Built solely for that shot.
19:42So this really was an older bath house.
19:45I admire your work.
19:50I beg your pardon?
19:53I said, I know and admire your wonderful work.
19:58Me and Murray spent two days in bath basically together.
20:01Well, not together.
20:02I mean, what to say about working with Murray Abraham.
20:05He was just a delight.
20:06He was mischievous and curious
20:10but also just very, like all of us,
20:13very happy to be there and happy to be a part of it
20:15and so engaged and meticulous.
20:20May I invite you to dine with me tonight
20:22and it will be my pleasure
20:24and indeed my privilege to tell you my story.
20:28And when you work with someone
20:30who's had the career or the experience that he has,
20:33you know, you're learning
20:34just by being in their presence,
20:36watching how they handle a camera or a scene or a line.
20:40I mean, he's obviously famous also for his beautiful voice
20:42and so what he can do to align,
20:44it's like listening to a great saxophonist play a note.
20:48I love it all just the same, this enchanting old ruin.
20:51Ah, they can bend it like that or, you know, hit that high
20:55and so you're just learning.
20:57He would never do anything without helping you first.
21:00Oh, Kit, what's this all to you?
21:03She was a radical.
21:04So this was my first day on set.
21:06She deserted her husband, her children.
21:08I was fortunate with this part
21:09in that I had months to prepare
21:12because me and Karim discussed it in October.
21:16I had Christmas and then it got pushed
21:18so I had a few months at the beginning of the year
21:21to prepare for it.
21:22And then I had Christmas and then it got pushed
21:25so I had a few months at the beginning of the year
21:28to really get ready.
21:29So I remember being obsessed with this idea
21:31that I really wanted him to always carry a sense
21:34of who he had been, that he had been this beautiful man,
21:37he had been this great athlete,
21:39he had been this prince full of promise
21:41and was suddenly well aware that he was on the way out
21:44and was furious with himself, furious with life,
21:47furious with God, furious with the world,
21:49that everything had become such a mess.
21:51So the fury was always present.
21:53Plus he's in agony all the time,
21:56blistering agony with these legs.
21:58I pictured him like a wounded gorilla.
22:00I really wanted him to still be powerful up here.
22:03The idea of being able to grab people
22:04and grab things and own them.
22:08James, James!
22:10I completely underestimated having this falcon.
22:13And not only is it a falcon, it's a really rare falcon.
22:16It's like a snow falcon from Siberia or something.
22:18I'd had a bit of a practice
22:20but I'd forgotten that of course it's gonna respond
22:22if I start getting angry here.
22:25James!
22:25And James was the name of the chap.
22:28So that all just became a part of it.
22:30That's me getting angry because I'm trying to do the scene
22:32and then the falcon's going nuts.
22:33So it's just like, take it off me!
22:35James!
22:35Because I didn't want to get clawed.
22:37And that's just one of those lovely, lucky moments
22:39where you're kind of playing two things
22:41and the bird of course exploding
22:44added to the flurry of the scene.
22:48I'm sorry.
22:48What?
22:48I'm so sorry.
22:49I don't know what came over me.
22:51I work with a very good intimacy coordinator on this.
22:54You know, I had to make sure everyone who came on set
22:57knew that I may touch them
22:59because he's a king and he owns you.
23:02Went from childhood.
23:03Confused me.
23:05It's very physical.
23:05I touch a lot of people's mouths
23:07and that relates to an appalling way he abuses his wife
23:11where he kind of puts his fingers in her mouth.
23:12It's this sense of you're just, you're nothing.
23:15You're an animal.
23:16And he does the same with a dog.
23:18That kind of physical grabbing, ownership, disregard
23:21was really important to this sense of status
23:23that I wanted him to have.
23:24I was completely unaware of where the cameras were
23:27and that's the way Kareem works.
23:28That he would sort of shoot it
23:30and sometimes film when you weren't,
23:32he wouldn't say action.
23:33So I remember finishing the day's work
23:35and being really like, have we got it?
23:38Did we get the scene?
23:39I didn't feel like we actually shot it.
23:41And it was me getting used to Kareem's style
23:43which was very fluid and secret, not secretive.
23:46That makes it sound like it was illicit
23:47but it was very, very subtle.
23:52It's okay, honey.
23:53It's okay, honey.
23:53Don't question us.
23:55I learnt during the prep that Henry was the first monarch
23:59in England anyway to refer to themselves
24:01as the royal we, us, being me, Henry, the crown and God.
24:06So I changed all of his language to us, we
24:10and it makes him psychopathic.
24:13He sounds so weird.
24:14Don't question us.
24:15And he's talking about himself.
24:16It's so odd.
24:21Thank you so much for watching.