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00:00Transcrição e Legendas Pedro Negri
00:30Legendas Pedro Negri
01:00Legendas Pedro Negri
01:28Você tem um personagem que é bastante inteligente e subversivo,
01:35mas você também tem um personagem que parece estranho e comporta de forma estranha e tem soluções estranhas para problemas.
01:58O Mr. Bean é um anarquista.
02:01Unintentional, eu acho, não tenta criar caos e ele só tenta fazer seu próprio trabalho funcionar.
02:08Você é como um bebê de casa, senhor?
02:10Sim, por favor.
02:23Não, não, não, não, não, não, não, não.
02:25Eu estou dirigindo.
02:28Ele pode ser muito bem e fazer coisas realmente ruins.
02:37Ele pode fazer algo de nada.
02:49E o que ele faz com o que ele faz com a face.
02:54A história de Bean é inextricably ligada com a história de Rowan Atkinson.
03:20Although Mr Bean was only christened in 1989, Rowan has been developing the character for most of his life.
03:28Whenever we try to think of Mr Bean and how he will react or would react in certain situations that we're thinking of putting him in,
03:36I always imagine him as a nine-year-old boy, that's how I always see him.
03:40They're sort of anarchists at heart, really, and I think that's what Mr Bean is, he's an anarchist.
03:45He'll obey the rules as long as they suit him.
03:49One, two, three, four...
03:55Rowan Atkinson was educated at Durham Cathedral Choir School.
03:59He is still remembered by his old headmaster, Cannon Grove.
04:04I had a member of staff named Cyril Watson who produced plays, and one year he chose St Joan.
04:13And it was obviously a spark of genius on his part to see that Rowan was the perfect person for the Dauphin.
04:22Who was quite camp, I seem to remember the first and possibly last time I've ever played someone truly camp.
04:28Shaw's own description was that the Dauphin was a pathetic little creature, yet irrepressible, with a cheeky sense of humour, and always liable to get his own way in the end.
04:43And that could be a sort of scenario for Mr Bean.
04:49What the hell do you think you're doing?
04:57Pinching my bottom in a hospital queue.
04:59The first impression he gave was that he was an extremely shy little boy, though he did say that he had begun his sort of career by being taken by the boys down into the changing room and asked to make funny faces for them.
05:20I seem to remember standing up in the changing rooms when I was ten or eleven or something and putting on a performance.
05:39Right, quiet, please.
05:50Ainsley.
05:57Babcock.
05:59Bland.
06:01Carthorse.
06:06Dint.
06:09Ellsworth Beast Major.
06:15I think I've very liked the funny faces of myself and my colleagues.
06:20Jones M.
06:22Orifice Sediment and Undermanager.
06:24See me afterwards.
06:26Most of you, of course, didn't write nearly enough.
06:29Dint.
06:30Your answer was unreadable.
06:31Put it away, plectrum.
06:38If I see it once more, this period, plectrum, I shall have to tweak you.
06:43Don't sulk, boy, for God's sake.
06:48Has matron seen those boils?
06:58Hurry, little twerp.
07:00I seem to remember making people laugh, because that was pre-adolescence.
07:05And I think once adolescence set in that I never really performed off stage or off screen ever again.
07:12It was only before the self-consciousness set in.
07:15I think I was quite sort of self-contained.
07:18Not, I hope, a loner.
07:20But sort of not really requiring the constant company of my friends in order to enjoy myself.
07:26My interest in visual comedy was based on discovering a film by Jacques Tati called Monsieur Houlot's Holiday, which I loved.
07:45When I was in the sixth form at school, because I was the projectionist.
07:46And myself and a friend were in charge of that operation, and it enabled us to sort of leaf through film catalogues in order whatever films came into our minds.
08:04It just struck a chord with me. I so admired it.
08:23It was a kind of an uncompromising comic attitude and setting that I really admired.
08:30And so that, but that was only a filmic experience which influenced me kind of subliminally.
08:37Monsieur.
08:38Monsieur.
08:39Hein?
08:40Monsieur Hulot.
08:41Comment?
08:42Monsieur Hulot.
08:43rajong the parks.
08:55You should see you in the next couple of plaques.
08:59Euste de microfiche.
09:09fees fees fees fees fees fees fees fees fees fees fees fees fees.
09:12que eu esqueci sobre, realmente, por três anos que eu fui à Universidade de Newcastle,
09:16de onde eu fui para Oxford University.
09:19E foi lá, realmente, que eu sort de me tornou.
09:22Minha background e minha natural inclinacións
09:26eram bem norte,
09:27e, de repente, eu estava em um meio culturado,
09:30mais southern ambiente,
09:33e eu estava trabalhando com...
09:35all meus amigos, se você quiser,
09:37que estavam lendo clássicos e inglês e franças literárias.
09:41Eu era o único que estava lendo Engenharia de Science.
09:43Quando eu o conheci, ele estava nervoso.
09:47E ele era estranho.
09:50Eu quero dizer, há muita nervosidade
09:52de estar com as mulheres, geralmente,
09:55que, claro, é fantásticamente endearing.
10:01Ah, Maraine.
10:02Bom dia, Robert.
10:04Um...
10:06O que, ah...
10:08do you do at nights?
10:13I beg your pardon?
10:14Do you, ah...
10:16Do you eat at night?
10:18Or...
10:19Or what?
10:21Well...
10:22As a roofer, yes.
10:24Aha!
10:25Ah, yes!
10:26Yes.
10:27Well, ah...
10:28Yes, well, I do, actually.
10:29I...
10:30I...
10:31I quite often go to a pub on my way home.
10:32But tonight, I thought I'd really splash out on something a lot better.
10:35Go somewhere really nice.
10:38Yes.
10:39Oh.
10:40Would you like me to join you?
10:43No, no, no, no, no, no, no, no, no.
10:45No, no, no, no, no, no.
10:46No, no, no, no, don't trouble yourself.
10:47No, it'll be, ah...
10:48Um...
10:49What is that?
10:50Yes?
10:51Yes!
10:52Yes!
10:53Yes!
10:54If that'd be okayed?
10:55Sim, sim, se vai me ok?
10:56Em seu primeiro termo em Oxford,
10:59ele teve uma reunião com a estudante com a escritora.
11:02Eu vi um adverso na universidade de um livro que estava pensando em fazer uma entrevista com a revista com a reunião com a reunião com a universidade em um momento.
11:11Então eu pensei que eu ia ter um interesse, e Richard foi lá.
11:17Sim, eu e eu meti em uma conferência de escritórica em uma sala de dons.
11:25Em março de 1976, e eu me lembro que ele era muito brilhante, muito talkante,
11:34que eu não era.
11:36Porque ele era muito quieto, ele não disse nada para o dia inteiro.
11:41Mas ele foi feito para qualquer contribuição que eu tinha.
11:47E finalmente, um dia,
11:50nós fomos perguntados se tivéssemos algo que nós queríamos fazer.
11:55E Rose ficou no quarto e fez esses dois projetos que ele trabalhou,
12:00que eram replete de such flagrant geniuses.
12:04Eu acho que foi a primeira vez que eu ouvi ele falar.
12:07Eles eram completamente maravilhosos.
12:10O Oxford Playhouse provided a showcase
12:12onde Rowan performou muito de seu material,
12:15com Richard as a straight man.
12:17No centro do mundo do Elizabethan,
12:20está o reino.
12:26O reino do reino depende do reino,
12:28e então há muitos tipos de reino.
12:31O reino do reino.
12:33O reino do reino.
12:35O reino do reino.
12:37O reino do reino.
12:39O reino do reino o reino.
12:42O reino do reino de dois preuissos kmol!
12:45O O O O O O O O O O O O O
13:15O O O O
13:45O O O O
14:15O O O O O
14:45O O O O O O O
15:15O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O O
15:45A CIDADE NO BRASIL
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18:15Richard Curtis and I
18:17were writing a full stage review for Ro
18:19with lots of different sketches
18:21and we wrote a couple of silent ones for him
18:23one of which was called Cheating
18:25which I was particularly involved in
18:27and well, you know, we co-wrote the whole show
18:29and that later became a Mr Bean sketch
18:33it didn't change really at all
18:35it's just that we didn't actually call it Mr Bean
18:37at the time
18:38I think what he did is to take elements of those different characters
18:41and package them together
18:43and that's I think probably how Mr Bean was born
18:59ah
19:03I'm
19:05I
19:07I
19:09I
19:11I
19:13I
19:15Não, não, não, não.
19:45Não, não, não.
20:15Não, não, não.
20:45We try to keep things informal here, as well as infernal.
20:53That's just a little joke of mine.
20:56I tell it every time.
20:58Now, murderers.
21:00Murderers, over here, please.
21:02Thank you.
21:04Looters and pillagers, over here.
21:07Thieves, if you could join them.
21:09And lawyers, you're in that lot.
21:11Villains are always more fun to play than good guys.
21:19That's a well-known fact.
21:21And I enjoy characters who have a vindictiveness in them.
21:28I always have done it.
21:30In the end, it's just more fun.
21:32There was a very funny moment when I first sent him the script of the tall guy.
21:35And the character that he eventually played was at that point called Rowan Atkinson, just as a joke.
21:41And he rang me up and asked me which part I wanted him to play.
21:45It was somewhat based on his real life, I guess, experiences with Richard Curtis,
21:51who wrote the tall guy, brilliant man that he is, and funny script that it is.
21:56Because he played something of the same part in Rowan's one-man show.
22:08I think the rest of us found it quite difficult to adjust to the fact that he was becoming very famous very quickly.
22:13And we were still who we were.
22:15And this was way before Richard had become a well-known writer in his own right.
22:19So I think there was quite a lot of adjustment to be done in terms of that.
22:22And I think, especially for Rowan, you know, difficult for him to adjust to his friends.
22:26We were always wondering whether he was going to buy the meal or not.
22:29The only thing in which Row was naughty during the stage show
22:34is he did have a lot of trouble describing it as anything but a one-man show.
22:39I remember saying to him once, you know, pointing out the poster which said Rowan Atkinson in his one-man show,
22:46and saying, I don't think that poster's slightly strange,
22:49and he said, oh, yes, yes, that tight fish should be in green and not yellow.
22:55So I thought, well, I won't push it.
22:56John Lloyd asked if I wanted to join this team of the people he was getting together
23:15to do a new topical, satirical comedy sketch show.
23:20The BBC, who in those days were much more paternal than they are now,
23:25said to Rowan, it would be much better if you had some other people in the show,
23:30because then if you're good, you'll shine, and if you're not good, they'll support you,
23:34and it'll mean you don't have to do a quarter of the work.
23:36So I was at this crossroads, really, and I had to choose between doing a show on my own
23:41or doing a show with three others.
23:44And there was no doubt in my mind which way to go.
23:51Abou ben Atchem, may his tribe increase.
23:56Awoke one night from a deep dream of peace.
24:00And saw, within the moonlight in his room,
24:04And to the presence in his room, he said,
24:17And with a look made of all sweet accord, answered,
24:23It was only rarely in Not The Iron Clot News that, you know,
24:34that my special interest in visual comedy was ever allowed to burst through.
24:39The rest of you will watch a mime called,
24:42and if there's any sniggering, there'll be trouble,
24:44Alternative Car Park.
24:48I said...
24:49What do you think you're doing?
25:18What?
25:19I'm the mime.
25:22Well, why don't you say so?
25:25Right, get on with the mime.
25:28I am a mime.
25:31My body is my tomb.
25:35The ideas we had for visual characters were, you know, rather unfocused, let's say.
25:41But the man who bumped into the tree was one of those rare occasions when it sort of got through.
25:46I can remember Richard Curtis and Rowan coming in very early Not The Iron Clot News and saying,
25:50We've got this great, great script.
25:52It's the best script we've ever written.
25:52And it consisted of, it says, Rowan is walking down the street and he sees the camera and then bumps into a lamppost.
26:00And I turned over the page expecting the great delivery of the line.
26:04I said, Well, what's this?
26:05What's the joke?
26:06They said, Well, it's really funny.
26:07I said, This isn't funny at all.
26:09It's hopeless.
26:09It doesn't work at all.
26:11They said, Well, can we do it?
26:12Please, please, please, can we have a, you know, a couple of hours with a camera?
26:14And I said, Sure.
26:15They went off and shot it with the director.
26:16It came back.
26:17It was absolutely brilliant.
26:28It's that shock that you've been working comedy for five, six, seven years,
26:32and somebody comes along and says, There's another way of doing this.
26:46He has not had to compromise.
26:48He's done pretty much exactly what he wants to.
26:52The compromises he's made have generally been so as not to upset his mother,
26:56you know, not to say too many rude words because she might not like it.
27:02It started off as being something completely different about bicycle thieves
27:16in North London, and over time, it developed into this, into a medieval sitcom.
27:22So how it went down that road, I don't know.
27:25I seek information about a wise woman.
27:28The wise woman.
27:30The wise woman.
27:32Yes, the wise woman.
27:34Two things, my lord, must ye know of the wise woman.
27:38Yes.
27:39First, she is a woman.
27:45And second, she is...
27:49Wise.
27:50You do know her, then?
27:52No.
27:53Just a wild stab in the dark, which is incidentally what you'll be getting
27:57if you don't start being a bit more helpful.
27:58I delighted in Blackadder and those very long, ornate things, you know,
28:05Baldrick, that's the most disgusting thing I've seen.
28:08Since Cardinal Woolsey got his knob out at Hampton Court
28:11and stood at the end of the passage pretending to be a door.
28:16Don't shut up, Baldrick.
28:20You laugh at a Shakespeare comedy.
28:22The Black Addams were very complicated by the end, it has to be said,
28:27because there were, you know, six or seven people working in a room,
28:35all of whom were capable, on their own, of developing entire projects,
28:40attempting to squeeze all their creative energy into a two-dimensional situation comedy.
28:45Permission to sing boisterously, sir?
28:48If you must.
28:49Whoa, whoa, whoa, you punt, gently down the stream.
28:53Belts off, trousers down, ears and life a scream.
29:01Fabulous.
29:02University education.
29:03You can't beat it.
29:05Bravo.
29:06Now, what have we here?
29:09Name?
29:09Baldrick, sir.
29:10Oh, tally-ho, yibbity-dap and zing-zang spill it.
29:14Looking forward to bullying off for the final chucker?
29:20Answer the general, Baldrick.
29:22I can't answer him, sir.
29:23I don't know what he's talking about.
29:26Are you looking forward to the big push?
29:30No, sir, I'm absolutely terrified.
29:34The healthy humour of the honest Tommy.
29:37Don't worry, my boy.
29:40If you should falter, remember that Captain Darling and I are behind you.
29:44About 35 miles behind you.
29:47There are two Rowan characters principally.
29:51There's the absolute bastard, who's the schoolmaster character, or Blackadder.
29:55And there's the funny wibbly little man.
29:57He's actually a lot of bastard as well.
30:24They're both bastards.
30:25In 1989, after the consideration of a long list of vegetables,
30:38the funny little wibbly man was given the name of Mr. Bean.
30:47Quite unexpectedly, this unfashionably silent comedy was an immediate hit.
30:52One of the secrets of the Bean visual humour is the careful and highly detailed preparation that goes into filming.
31:03I'm not at all sure that I enjoy acting, because I just find it so worrying and difficult.
31:10I enjoy planning things, I enjoy thinking about things, you know, contributing to the creation of things.
31:16The window down, or a head emerging, if you wanted a nice entrance for yourself, trying to get out of the train.
31:22Almost without seeing the window come down, just the sense of the grappling hand, of the hand coming out, you know, where's the norm?
31:30Each and every Bean moment is meticulously choreographed.
31:34I don't know, I don't know.
31:36I suppose I'd seen that he arrives in this shot already sort of faltering, you know what I mean?
31:41Though we just get the sense, or at least, not necessarily that he's acknowledged his loss of ticket in the opening shot,
31:49but he could be looking for it, and then we're still fairly confident.
31:52And then when we pick him up, profile, that he's sort of starting to falter, and there's a little bit more of it, oh, nobody allowed, apparently.
32:02If this angle works best, that's lovely, the change of direction, if you see what I mean.
32:06I'm always aware that of any ten suggestions I might come up with, three or four, or five, maybe along the same lines that he's thinking.
32:18But I'm always unnerved by the fact that on almost all the other occasions, he's so far ahead,
32:23that I then have to choose between, you know, open-mouthed admiration or a very quick recovery,
32:28where I say, yes, I felt something similar would probably do very well,
32:32and then scuttle off and try and get to the cameraman before he does.
32:36This bag could do with being six inches, six inches longer.
32:45Six inches longer?
32:46Yeah, I think so.
32:48How fast can he go?
32:53So one corner of the bag would go through and get stuck, and then, uh, uh, and then he'd come back,
32:58and then think, well, there's only one way out, and that is to go over the top.
33:00The co-writer, Robin Driscoll, collaborates with Rowan on the improvisation of Bean.
33:15It might be a nice tea bag.
33:16You know, if you do a bit of a caterpillar and you go up and you think, well, freedom's in science.
33:19One of the reasons why Mr. Bean has gone on is because, actually, the process of creating him is quite a lot of fun.
33:35You think of a basic situation, just as you're walking around, you're in a barber shop,
33:39and you think, yes, this is a place where people don't talk to each other.
33:41I could do a Mr. Bean thing here.
33:50Susie!
33:55And then you sit down at the computer and you think through, as you would with a normal piece of writing,
33:59five things that might happen.
34:00Sorry, look, can I just leave Jamie here with you for a moment?
34:16I've left my purse in the shop back there, but just give him a good haircut, will you?
34:19Be good, Jamie.
34:20Sorry to stop, but I have a feeling that if this happened,
34:24that Bean would, well, some, you know, normal people would say,
34:28hang on a minute, he'll be back in a second and I'm third, you know what I mean?
34:32Because in the end, the rhubarb was only ten yards that way.
34:36So I'm not sure he would immediately presume to take on the role of the barber
34:41unless he had an extra kick.
34:44I mean, maybe, actually, Jamie says something like, come on!
34:46Would Jamie take his own cap off and look at Bean so that we see you?
34:53Yeah, like that expectant thing.
34:55Yeah.
34:56And there's a kind of moment between the two of you.
34:58Yes.
34:58Yes, that might be quite good.
35:06Yes, yes, that's quite good.
35:08Yes, exactly.
35:09Good.
35:10Yeah, that might be all I need.
35:16I like Mr Bean mainly because he's got a bit of a rubber face.
35:43Yes, yes, yes, yes, yes.
36:13Blue, three and five, thirty-five.
36:16Blue, three and seven, thirty-seven.
36:19White, six and one, sixty.
36:23Yellow, two and five, twenty-five.
36:26White, five and four, fifty-four.
36:29Yellow, two and three, twenty-three.
36:32Green, anywhere around sixty-nine.
36:37Bingo!
36:37He puts peas, mushy peas, up the turkey's bum.
36:45And then he puts it up with the hands he's got his watch on.
36:49And when he comes out, you realise he's not wearing his watch.
36:52Of course.
36:54�がり at that role.
36:57wearing his watch.
36:58Oh.
37:00He's gone.
37:01He's gone.
37:02He's gone.
37:04He's gone.
37:08He's gone.
37:09He's gone.
37:10He's gone.
37:10He's gone.
37:11Okay.
37:13He's gone.
37:14I'll be.
37:14.
37:15What?
37:15O que é isso?
37:45O que é isso?
37:47Bom dia, chamo-se Beano-mania.
37:49Vamos lá, o turno.
37:50Aqui é Mr Bean.
37:52Como uma alubia, ele se chama isso, Mr Bean.
37:55Nós vamos ver em France 3.
37:56Mr Bean.
37:57Ladies and gentlemen, please welcome Mr Bean.
38:03Uninhibited by a language barrier, Mr Bean has become a truly global success,
38:08and is now watched in over a hundred countries around the world.
38:12The character was always meant to be international.
38:15The inspiration came to Rome while on holiday in Italy.
38:19I just remember strolling through Venice and seeing all these souvenir stores selling posters of George Michael and Phil Collins and Duran Duran, I think, at the time.
38:30And thinking, well, there you go, you know, Englishmen all, but hordes of Norwegians are very keen to buy posters of them.
38:38Why does comedy not have an international dimension?
38:41And with Mr Bean, Rowan has undoubtedly discovered that international dimension.
38:46I've never been to Canada before, and it's absolutely splendid.
38:50Bean is not quite into sex, drugs and rock and roll, but the Bean videos have sold in record-breaking quantities,
38:57and Rowan is now as well-paid as a major rock star.
39:02All this on the back of only 14 Mr Bean half-hour episodes.
39:06Well, I certainly never wanted pop star recognition and accoutrements.
39:10In fact, we did experience it once in Amsterdam when I went as Mr Bean to sign some videos,
39:15and there was this kind of, you know, neo-riot, and I had to be smuggled out of the back of the store.
39:20It was a most peculiar thing, you know, when you get a sense of that, you know, what it must be like to be Madonna.
39:26But I have to say it was an experience that I didn't enjoy at all.
39:30But despite this extraordinary success, Rowan was keen for a new challenge.
39:36Bean the movie offered a whole new set of possibilities, and in 1996 it went into production.
39:43The Grierson Gallery of California needs a representative of our great gallery.
39:48They are looking for a scholar of the very highest standing.
39:53I have therefore decided to recommend for the post and the three months sabbatical that goes with it,
39:59that splendid employee, Mr Bean.
40:04Are we good?
40:06Excellent. Excellent. Excellent.
40:09All those in favor? Yes.
40:11Excellent. Carried.
40:13Our loss is America's gain.
40:16Ludicrously nominated by the National Gallery as their representative,
40:21the funny little Wibbly man finally arrives in America.
40:29He gets a bit of a warm reception at Los Angeles Airport and immediately gets on the wrong side of the police.
40:45Move! Move! Move!
40:50Police! Everyone on the floor! Now!
40:54Not you, sweetie!
40:58The structure and narrative of a film, if you're aiming to make it any kind of success, has got to be so different to that of a half-hour television program.
41:13It is a huge leap to make.
41:16And if we were going to go through all the effort and torment of making that leap and trying to make it work,
41:23that it seemed logical that we should try to be doing something different with the character.
41:28Which goes back again to this idea of trying to explore more facets of the character than we had been able to do on television.
41:36Just because it's a film, we mustn't allow ourselves not to put in straight funny visual sequences.
41:43And so we've had about eight days of rehearsal where we go into a rehearsal room and the three of us just fool around with basic ideas.
41:49Mr. Bean on the plane, Mr. Bean with a pair of wet trousers, Mr. Bean in bed, you know, and stuff like that.
41:55And a lot of the funniest things, indeed, in the final movie, what I suspect, come from those genuinely amusing occasions,
42:07rather than sitting alone in one's room typing speeches from people.
42:10Well, down you go. That's fantastic.
42:15Lean away from him.
42:18.
42:41Rowan has always been more comfortable working within a close circle of collaborators,
42:45and Mel Smith, director of The Tall Guy and co-star of Not The Nine O'Clock News,
42:50was an obvious choice to direct the Bean movie.
42:54In the TV programmes, there are no real consequences to what he does.
43:02I mean, there are consequences in the short term, within the ten-minute sketch,
43:05or whatever it may be, to the people who are in the vicinity.
43:07The interesting thing about doing a film is that there are real consequences in our story.
43:12And what he does actually impacts on other people.
43:15Are you feeling lucky, punk?
43:17Here? In our house for two months?
43:23Oh, David, what? Suddenly there's no hotels in Los Angeles?
43:27Okay, there's no need to get excited here. I just thought, you know, this is the Royal National Gallery of England's top man.
43:33I thought it would be very exciting to have around to learn from and talk to.
43:37Uh-huh. So do we know anything about our new best friend?
43:40No, although I think they might have mentioned it if he was a notorious serial killer.
43:45He's a genius, huh?
43:47That's what they tell me.
43:49Well, it looks like a fruitcake to me.
43:55The comedy is so simple. You know, it is so accessible. It's so manifest, really, to anybody.
44:15Some people who prefer a bit more intellectual content are probably disappointed by most Mr. Bean sketches.
44:23And may, therefore, be disappointed by the film. But that doesn't worry me so much.
44:28I enjoy the simplicity of him and his comedy.
44:33And the sort of universal identification, I think, that people throughout the world seem to feel for the character.
44:42I don't know what to say about Bean. He's clearly a Force 10 disaster area, but... God, help me. I like him.
45:04I mean, quite a lot of Bean is very extreme. But quite a lot of the stuff that I like the most is when he's just sitting in a chair in a dentist's waiting room with sort of nothing much going on and just watching him.
45:26And how he, how he, how he, how he bides his time always amuses me greatly.
45:36I think it's a very difficult question.
46:04Eu acho que Mr. Bean é Rowan Atkinson.
46:10Eu tenho visto ele ser aquela pessoa em sua vida.
46:15Então eu acho que eles não são tão longe.
46:19Se você vai apresentar uma situação visualmente,
46:22eu acho que o personagem ou o personagem que você create
46:25para apresentar visual comedy
46:27vem de muito dentro de você.
46:30É muito identificável como um parte de você.
46:34O meu teorio é que você tem apenas um
46:37verdadeiro bom e convincente visual
46:41personagem dentro de você.
46:43Ninguém tem mais do que um.
47:04Oh...
47:06Oh...
47:07Oh...
47:08Oh...
47:09Oh...
47:10Oh...
47:12Oh...
47:13Não, não, não, não, não.
47:43A CIDADE NO BRASIL
48:13O que é isso?
48:43O que é isso?