Post by Ace on Oct 24, 2005 14:51:25 GMT -5
Pierce's taped appearance on Richard & Judy ( A UK program) that aired on Oct 21, 2005. Transcribed by the wonderful Chayna -- reposted from another board:
=================================
At the start of the show Richard said "Come on in, the water's
lovely, (showing PB stepping into pool in The Matador) as Pierce
Brosnan will tell you. He's here later talking about his fabulous
new film The Matador, which we both absolutely loved. Judy says "We
did".
Later before commercials Judy says: "We'll have the dashing Pierce
Brosnan after the break"
Judy: Now Pierce Brosnan as you've never seen him before. Moving on
from the suave and sophisticated James Bond, Pierce shows just how
excellent an actor he is in his new film The Matador. Looking
scruffy and tired, Pierce plays a hired assassin who's jaded and on
the edge of a nervous breakdown but forms an unlikely friendship with
a suburban salesman. It's very funny as well as quite dark and it's
a huge departure for him and has been much praised. We loved it.
See what you think. (shows hotel lobby/pool clip)
Richard, Judy and Pierce in studio. Pierce is in a dark suit with
white shirt open at the neck.
R: I'll tell you what, we said this to you before the programme
started and I say it with a full heart (hear P say Aww) and Judy's
total agreement - I think it's one of the best things you've ever
done. (P takes a deep breath) It's totally surprising (P lets out
breath and says "Yeah, yeah"). We sat down to watch it, not quite
knowing, we knew what the plot was going to be about (P nodding) but
we didn't know how you'd play it. It's brilliant, it's a great film.
J nodding: It is.
P: Thank you both (clapping hands slowly)
R: You're brilliant in it.
P: Ah, cheers, cheers (slowly claps)
R: Full stop, end of story. (joking) You can go now.
P (in light-hearted way and smiling eyes to camera): Thank you very
much folks. Go see the movie, it's a lotta laughs, you'll howl.
R & J laughing
R: It's not just a lot of laughs
P: It's got heart, it's a kind of tragic/comedy really. I mean this
young lad, Richard Shepard, this young man Richard Shepard sent it to
us as a writer's
R: He's the scriptwriter and the director
P: He's the scriptwriter yeah and the director. He sent it to us as
a writing sample of his work for Thomas Crown Affair 2, which we're
trying to make and hopefully will make, but we all fell in love with
it in the office and said let's have a crack at it. Let's go off to
Mexico City. We raised the money pretty quickly and we got the great
Greg Kinnear first choice, and then the great Hope Davis.
R: Have you ever done anything like it, do you think? I was looking
through your back catalogue and I couldn't see anything there.
P: No. I've done stuff like this in my, in the younger career, you
know before I went off to America and did all of that. I had a
street theatre company and I worked in fringe theatre in the
Edinburgh Festival, so I've done crazy characters like this
somewhat. But you know Richard really made this kind of
kaleidoscopic tale.
J: We knew that it wasn't about a matador.
P: Right.
J: But we couldn't… and the opening of the film particularly has this
great long sequence of beautiful, beautiful bullfight scenes. And in
fact the bullfight, the matador and the bull are a metaphor for you
and your job aren't they? The hitman.
P: Well matador means killer, so
J: Oh right
P: So it is a metaphor for his life and what the job that he does
is. He's this assassin who's (starting to smile) kind of having a
crisis of confidence in his life because he can't kill people any
more.
R laughing: He's having a nervous breakdown
P: He's having a nervous breakdown
R: Not because he's got any moral difficulty with it. It's not that
is it? It's not that he suddenly sees the error of his ways, he just
reaches (pauses thinking of phrase he wants)
P: He's lonely
R: He's lonely, yeah
P: He's lonely, he's just lost in life. So this wonderful tale of
these two guys who meet in a bar
J: Who couldn't be more different
P: No. I mean Greg, you know Greg Kinnear is such a talented fellow
and he's done drama and he's done comedy. So if I hadn't had him to
be so gullible and so giving as an actor, gullible as the character
and giving as an actor, then it would have been forelorn (I think
that's what the last word was)
R: I love the scene where, basically, for a while, while down in
Mexico, out of sheer loneliness, you form this almost homoerotic
relationship with him, actually from yours, not from his side, but
from your character's side
P: Right, yeah, yeah (nodding)
R: It's not homosexual but there are definite undertones there.
Quite moving actually. And finally under a certain degree of
pressure and out of this sense of wickedness, your character tells
him what you really do for a living (shows open air café scene with
GK and PB)
R: You must have had to get into the, obviously to some extent, try
to get into the head of somebody who would do this for a living and
there are many of them out there. Some of them may even be watching
now, which is slightly unnerving. (He's smiling and P chuckles)
R: And your character says at one point "I am a psychopath but I'm
not psychotic"
P: Yeah, right
R: That's a great line
P: It is, yeah
R: Explain that
P: He is a psychopath and I gave the text to this, I found this
wonderful lady who is a criminal psychologist in Los Angeles and I
gave it to her to analyse and breakdown; and I was very happy to see
that her notes and mine kinda concurred; and it was just mine through
sensing an intuition as an actor and had to play him. I didn't want
to meet one of these kind of mad buggers, so
J: No
R: When you and this other guy are watching a bullfight you
say "Can't you see the beauty of it and the honour, the honour of the
killing and the honour of the beautiful death?"
P: Mmhmm, mmhmm
R: Do you believe in that?
P: Do I believe in that? (slightly puzzled at being asked I think)
Nooooo! (very emphatically and frowning) I'm just an actor in chi (?-
couldn't tell, sounded like a short word - wonder if it's a nickname
for character) for God's sake! You know (looking in the opposite
direction from R & J, holding hands up, and possibly slightly annoyed
that he'd think that?) I, I, I
J: laughing at Richard and saying at same time as Pierce: He's just
an actor
R: You still give it (I think that's what he says before) with great
conviction
J: You got very good reviews for it in America when you showed it at
the Sundance
P: Sundance Film Festival, yeah (relaxing shoulders)
J: I remember reading, was it a Chicago paper, that said "It's a bit
like Lost In Translation with you as Bill Murray and Greg as Scarlett
Johansson"
P laughs: Well it's a kind of buddy movie, it's a love story in some
respects and these two men and this one woman, Hope Davis, and you
know it was a joy to do this film and you never know whether these
things are gonna work or not. And Mexico City is a character unto
itself.
R: You said it's like going back to Ireland, going to Mexico.
P: Well the people have got a great spirit. I love the people over
there. They have a great passion for life and the arts; and you know
the only two things are that it's bloody violent and you can get
nabbed off the street and you can't breathe (R chuckles and laughs)
coz the air is so bad. Apart from that it's magnificent.
J: What are you doing now? Has that (fingering her chin) got
something, the beard which suits you?
P stroking his beard: This? (said in a serious but you can tell he's
joking tone) Yeah, well I dyed it grey of course and (Judy is
laughing) you know it was black, it was, anyway I'm doing a film.
R: You're not a Rolf Harris impersonator?
P laughing: A Rolf Harris, I know, I saw that the other day in the
paper. Rolf's my hero, I used to watch Rolf (sings sounding like RH)
Tie me kangaroo down boy. (still in RH voice but speaking) I could do
all this (panting as RG does) you know. Here we go folks (with hand
actions as if painting in the air)
[For those of you who don't know who Rolf Harris is go here:
www.rolfharris.com/
a version of the song is here as the link to RH's version doesn't
work on his website.
www.immortalia.com/html/non-bawdy/tie-me-kangaroo-down-
sport.htm ]
R & J laughing
R: It's a living
P (relaxed and laughing): It's a living.
R: It's a whole new career
P: Oh, anyway, errm
R: So what's it for?
P: I'm doing a western. It's a civil war western with Liam Neeson and
myself and
R&J: Ah, right
P: So it's a very beautiful piece actually
R: You're not General Lee are you?
P: No, no. I'm a captain, captain from the north, a Union man and
he's (drawing breath)
J: Is that the Danny De Vito film?
P: hunting me down. No that's the other one.
J: That's another one.
P: That's another one. I've got employment finally.
R laughing: So your career's gone quiet then basically (Judy's
laughing too)
P: After this Matador thing I took time off because a chapter of life
had kind of closed there and I was getting roles which were, I was
repeating myself.
J: Yeah
R: Well, we'd like to re-open a chapter, a much, much, much, much
earlier chapter (P looking slightly puzzled) You mentioned, I'm glad
you did actually, quite spontaneously, you mentioned your roots in
acting in this country in fringe theatre, workshop and stuff.
P: Right, yes
R: And here we are, we're very close, if people don't know, this
studio is within a spit of The Oval Cricket Ground and also the Oval
House
P drinking a glass of water: Mmm hmmm
R: Which is a theatre, a little room
P: Yeah
R: and you did a lot of innovative work there when you were 18 when
you started
P: Yeah
R: and you know what, we went back there, just over the road and we
met Paddy Fletcher
P: Paddy Fletcher - get - outa - here (slowly while he's thinking and
remembering who that is, I think)
R: Paddy Fletcher, the director. Here we go.
Film of Paddy Fletcher in the Oval House:
PF: Hi Pierce. Paddy Fletcher and I'm standing here in the main
theatre of the Oval House and in this space, 30-odd years ago you
gave what was probably one of your first performances in a play, if
you could call it a play, that I wrote called Feast of Fools.
Well here we are in the glamorous surroundings of the Oval House
dressing room. I'm sure you remember it crowded with about 40 people
from Feast of Fools. Actors, jugglers, rock musicians and, of
course, yourself dressed as a mad monk. I remember you being very
inventive, very modest, a very powerful performer and constantly
seeking more, which is why you went to Drama School and then after
drama school you went (waving hands away) you went and the rest is
history.
Back to studio:
P: Way to go guys!
R: How about that
P: That is, that is awesome
J: I love the idea of a mediaeval rock musical.
P: Oh it was brilliant (R laughing)
J: How it evolved with the Rolf Harris singing
P: Oh yeah, my god. Well I walked in these doors. I was 18 years of
age, 17 or 18, and at that time I was a commercial artist. I was a
trainee commercial artist in Putney in a little studio there. I was
handing my coat up one day and talking to this guy from the
photographic department, Alan Porter, and Alan said 'Oh I go to this
theatre club called the Oval House' and he said 'You should come
along' and I just happened on the tube one night and
R: And did it go on from
J: And that was it, so that's really
P: And went down to the Oval House and went in and, I mean, it was a
hotbed, it was really. The fringe theatre was really blossoming,
experimental theatre, and I went into a workshop which I didn't know
what the heck it was. But it was like 30 people, you lay down on the
floor, closed your eyes, start humming, get up, go round and start
touching people (hand gestures here)
R & J laughing
P: And so there's lots of lovely girls (hand actions and peeping
through closed eyes) and whoa she's nice
R laughing: Sounds like a typical day here
P still with actions: and oh my god. And I thought if this is acting
I want some of this (smiling)
R laughing his head off
P: And I thought this is bloody brilliant. So that's how it started.
R: And from that to all this way. What a start to a journey
J: Well
R: Go on Judy
J: Well
P: Paddy Fletcher, way to go Paddy
J: Well Paddy Fletcher is waiting in the wings because he wants to
see you again.
R: He's here
P in London accent: Bloody hell Paddy! Do I owe you money? I probably
owe you 50 quid or something.
PF walks on, claps hands and points at Pierce (almost like a gun -
007ish - but not sure if that's what it was meant to be) and Pierce
is up off the sofa and walks round glass coffee table to him
P: Look at you
PF: Pierce baby
They hug each other
P: Oh God bless you man.
PF: What you been doing with yourself
P: Oh just hanging out.
R & J laughing
R: Oh he failed and went to America
PF: Ah, bless him
P: Come and sit down (directing PF to the sofa and into his vacated
seat)
PF: We wouldn't play here - Twickenham Rep wasn't it?
R to P: He's got your lighting now (then to PF) so you'll look
terrific
P: Oh right, I'll put my head over here (leans onto PF's shoulder as
they're all laughing and P and PF are pushing each other playfully)
J: So you obviously realised he was an extremely stunning looking
young man but you also
PF looking at P: Yeah but what happened?
P as R laughs: No, it's good makeup mate. It's makeup. And you're
running the theatre now?
PF: No
P: Oh. But you're still down there?
PF: No I'm ducking and diving and all kinds of things
R laughing: We got the Salvation Army to find him mate.
PF: Her Majesty's Pleasure I was recently, actually I was, yeah.
P: Yes, ha, ha, ha. Was it, oh, for god's sake, that's a good one
(then serious as I think he realises that maybe he wasn't joking) Oh.
What are you
J (I think moving the conversation away deliberately here): There
were quite a few people weren't there? Tim Roth
PF: Tim Roth
J: started out there
PF: Gary Olsen
J: Gary Olsen
P: Stephen Rea was down there
PF: Stephen Rea, yeah
P: Stephen Rea
R: All those guys from down there, so this guy was no flook. There's
a whole generation
PF: Just a crew of divers maniacs just descended on that place
R: Well it's great to see you back together again
P: It's wonderful to see you mate (holding his right hand palm up for
PF to take with his left hand and they shake)
R: Such great memories and thanks for dropping in and listen, once
again
P leans across to shake R's outstretched hand
R: We've gotta say, The Matador (to PF) Have you seen this film?
PF: No, no. I'm looking forward to it immensely
R: You've got to go and see it
J: It's fantastic. It's really, really good
R: You will really, really enjoy it. It's amazing
P: Well bless you guys. Thanks a million (shaking Judy's hand)
R: Great film, really enjoyed it.
P: Cheers
R: Lovely to see you both
P: Cheers, thanks again, especially you (can't see who this is said
to but maybe PF?).
R: Thanks for coming in
P: Thanks.
J looks up as if from watching a monitor: And The Matador is featured
in the London Film Festival and will be screened this coming Monday
(today 24th Oct) and the details are on our website and it'll be on
general release early next year.
The End
=================================
At the start of the show Richard said "Come on in, the water's
lovely, (showing PB stepping into pool in The Matador) as Pierce
Brosnan will tell you. He's here later talking about his fabulous
new film The Matador, which we both absolutely loved. Judy says "We
did".
Later before commercials Judy says: "We'll have the dashing Pierce
Brosnan after the break"
Judy: Now Pierce Brosnan as you've never seen him before. Moving on
from the suave and sophisticated James Bond, Pierce shows just how
excellent an actor he is in his new film The Matador. Looking
scruffy and tired, Pierce plays a hired assassin who's jaded and on
the edge of a nervous breakdown but forms an unlikely friendship with
a suburban salesman. It's very funny as well as quite dark and it's
a huge departure for him and has been much praised. We loved it.
See what you think. (shows hotel lobby/pool clip)
Richard, Judy and Pierce in studio. Pierce is in a dark suit with
white shirt open at the neck.
R: I'll tell you what, we said this to you before the programme
started and I say it with a full heart (hear P say Aww) and Judy's
total agreement - I think it's one of the best things you've ever
done. (P takes a deep breath) It's totally surprising (P lets out
breath and says "Yeah, yeah"). We sat down to watch it, not quite
knowing, we knew what the plot was going to be about (P nodding) but
we didn't know how you'd play it. It's brilliant, it's a great film.
J nodding: It is.
P: Thank you both (clapping hands slowly)
R: You're brilliant in it.
P: Ah, cheers, cheers (slowly claps)
R: Full stop, end of story. (joking) You can go now.
P (in light-hearted way and smiling eyes to camera): Thank you very
much folks. Go see the movie, it's a lotta laughs, you'll howl.
R & J laughing
R: It's not just a lot of laughs
P: It's got heart, it's a kind of tragic/comedy really. I mean this
young lad, Richard Shepard, this young man Richard Shepard sent it to
us as a writer's
R: He's the scriptwriter and the director
P: He's the scriptwriter yeah and the director. He sent it to us as
a writing sample of his work for Thomas Crown Affair 2, which we're
trying to make and hopefully will make, but we all fell in love with
it in the office and said let's have a crack at it. Let's go off to
Mexico City. We raised the money pretty quickly and we got the great
Greg Kinnear first choice, and then the great Hope Davis.
R: Have you ever done anything like it, do you think? I was looking
through your back catalogue and I couldn't see anything there.
P: No. I've done stuff like this in my, in the younger career, you
know before I went off to America and did all of that. I had a
street theatre company and I worked in fringe theatre in the
Edinburgh Festival, so I've done crazy characters like this
somewhat. But you know Richard really made this kind of
kaleidoscopic tale.
J: We knew that it wasn't about a matador.
P: Right.
J: But we couldn't… and the opening of the film particularly has this
great long sequence of beautiful, beautiful bullfight scenes. And in
fact the bullfight, the matador and the bull are a metaphor for you
and your job aren't they? The hitman.
P: Well matador means killer, so
J: Oh right
P: So it is a metaphor for his life and what the job that he does
is. He's this assassin who's (starting to smile) kind of having a
crisis of confidence in his life because he can't kill people any
more.
R laughing: He's having a nervous breakdown
P: He's having a nervous breakdown
R: Not because he's got any moral difficulty with it. It's not that
is it? It's not that he suddenly sees the error of his ways, he just
reaches (pauses thinking of phrase he wants)
P: He's lonely
R: He's lonely, yeah
P: He's lonely, he's just lost in life. So this wonderful tale of
these two guys who meet in a bar
J: Who couldn't be more different
P: No. I mean Greg, you know Greg Kinnear is such a talented fellow
and he's done drama and he's done comedy. So if I hadn't had him to
be so gullible and so giving as an actor, gullible as the character
and giving as an actor, then it would have been forelorn (I think
that's what the last word was)
R: I love the scene where, basically, for a while, while down in
Mexico, out of sheer loneliness, you form this almost homoerotic
relationship with him, actually from yours, not from his side, but
from your character's side
P: Right, yeah, yeah (nodding)
R: It's not homosexual but there are definite undertones there.
Quite moving actually. And finally under a certain degree of
pressure and out of this sense of wickedness, your character tells
him what you really do for a living (shows open air café scene with
GK and PB)
R: You must have had to get into the, obviously to some extent, try
to get into the head of somebody who would do this for a living and
there are many of them out there. Some of them may even be watching
now, which is slightly unnerving. (He's smiling and P chuckles)
R: And your character says at one point "I am a psychopath but I'm
not psychotic"
P: Yeah, right
R: That's a great line
P: It is, yeah
R: Explain that
P: He is a psychopath and I gave the text to this, I found this
wonderful lady who is a criminal psychologist in Los Angeles and I
gave it to her to analyse and breakdown; and I was very happy to see
that her notes and mine kinda concurred; and it was just mine through
sensing an intuition as an actor and had to play him. I didn't want
to meet one of these kind of mad buggers, so
J: No
R: When you and this other guy are watching a bullfight you
say "Can't you see the beauty of it and the honour, the honour of the
killing and the honour of the beautiful death?"
P: Mmhmm, mmhmm
R: Do you believe in that?
P: Do I believe in that? (slightly puzzled at being asked I think)
Nooooo! (very emphatically and frowning) I'm just an actor in chi (?-
couldn't tell, sounded like a short word - wonder if it's a nickname
for character) for God's sake! You know (looking in the opposite
direction from R & J, holding hands up, and possibly slightly annoyed
that he'd think that?) I, I, I
J: laughing at Richard and saying at same time as Pierce: He's just
an actor
R: You still give it (I think that's what he says before) with great
conviction
J: You got very good reviews for it in America when you showed it at
the Sundance
P: Sundance Film Festival, yeah (relaxing shoulders)
J: I remember reading, was it a Chicago paper, that said "It's a bit
like Lost In Translation with you as Bill Murray and Greg as Scarlett
Johansson"
P laughs: Well it's a kind of buddy movie, it's a love story in some
respects and these two men and this one woman, Hope Davis, and you
know it was a joy to do this film and you never know whether these
things are gonna work or not. And Mexico City is a character unto
itself.
R: You said it's like going back to Ireland, going to Mexico.
P: Well the people have got a great spirit. I love the people over
there. They have a great passion for life and the arts; and you know
the only two things are that it's bloody violent and you can get
nabbed off the street and you can't breathe (R chuckles and laughs)
coz the air is so bad. Apart from that it's magnificent.
J: What are you doing now? Has that (fingering her chin) got
something, the beard which suits you?
P stroking his beard: This? (said in a serious but you can tell he's
joking tone) Yeah, well I dyed it grey of course and (Judy is
laughing) you know it was black, it was, anyway I'm doing a film.
R: You're not a Rolf Harris impersonator?
P laughing: A Rolf Harris, I know, I saw that the other day in the
paper. Rolf's my hero, I used to watch Rolf (sings sounding like RH)
Tie me kangaroo down boy. (still in RH voice but speaking) I could do
all this (panting as RG does) you know. Here we go folks (with hand
actions as if painting in the air)
[For those of you who don't know who Rolf Harris is go here:
www.rolfharris.com/
a version of the song is here as the link to RH's version doesn't
work on his website.
www.immortalia.com/html/non-bawdy/tie-me-kangaroo-down-
sport.htm ]
R & J laughing
R: It's a living
P (relaxed and laughing): It's a living.
R: It's a whole new career
P: Oh, anyway, errm
R: So what's it for?
P: I'm doing a western. It's a civil war western with Liam Neeson and
myself and
R&J: Ah, right
P: So it's a very beautiful piece actually
R: You're not General Lee are you?
P: No, no. I'm a captain, captain from the north, a Union man and
he's (drawing breath)
J: Is that the Danny De Vito film?
P: hunting me down. No that's the other one.
J: That's another one.
P: That's another one. I've got employment finally.
R laughing: So your career's gone quiet then basically (Judy's
laughing too)
P: After this Matador thing I took time off because a chapter of life
had kind of closed there and I was getting roles which were, I was
repeating myself.
J: Yeah
R: Well, we'd like to re-open a chapter, a much, much, much, much
earlier chapter (P looking slightly puzzled) You mentioned, I'm glad
you did actually, quite spontaneously, you mentioned your roots in
acting in this country in fringe theatre, workshop and stuff.
P: Right, yes
R: And here we are, we're very close, if people don't know, this
studio is within a spit of The Oval Cricket Ground and also the Oval
House
P drinking a glass of water: Mmm hmmm
R: Which is a theatre, a little room
P: Yeah
R: and you did a lot of innovative work there when you were 18 when
you started
P: Yeah
R: and you know what, we went back there, just over the road and we
met Paddy Fletcher
P: Paddy Fletcher - get - outa - here (slowly while he's thinking and
remembering who that is, I think)
R: Paddy Fletcher, the director. Here we go.
Film of Paddy Fletcher in the Oval House:
PF: Hi Pierce. Paddy Fletcher and I'm standing here in the main
theatre of the Oval House and in this space, 30-odd years ago you
gave what was probably one of your first performances in a play, if
you could call it a play, that I wrote called Feast of Fools.
Well here we are in the glamorous surroundings of the Oval House
dressing room. I'm sure you remember it crowded with about 40 people
from Feast of Fools. Actors, jugglers, rock musicians and, of
course, yourself dressed as a mad monk. I remember you being very
inventive, very modest, a very powerful performer and constantly
seeking more, which is why you went to Drama School and then after
drama school you went (waving hands away) you went and the rest is
history.
Back to studio:
P: Way to go guys!
R: How about that
P: That is, that is awesome
J: I love the idea of a mediaeval rock musical.
P: Oh it was brilliant (R laughing)
J: How it evolved with the Rolf Harris singing
P: Oh yeah, my god. Well I walked in these doors. I was 18 years of
age, 17 or 18, and at that time I was a commercial artist. I was a
trainee commercial artist in Putney in a little studio there. I was
handing my coat up one day and talking to this guy from the
photographic department, Alan Porter, and Alan said 'Oh I go to this
theatre club called the Oval House' and he said 'You should come
along' and I just happened on the tube one night and
R: And did it go on from
J: And that was it, so that's really
P: And went down to the Oval House and went in and, I mean, it was a
hotbed, it was really. The fringe theatre was really blossoming,
experimental theatre, and I went into a workshop which I didn't know
what the heck it was. But it was like 30 people, you lay down on the
floor, closed your eyes, start humming, get up, go round and start
touching people (hand gestures here)
R & J laughing
P: And so there's lots of lovely girls (hand actions and peeping
through closed eyes) and whoa she's nice
R laughing: Sounds like a typical day here
P still with actions: and oh my god. And I thought if this is acting
I want some of this (smiling)
R laughing his head off
P: And I thought this is bloody brilliant. So that's how it started.
R: And from that to all this way. What a start to a journey
J: Well
R: Go on Judy
J: Well
P: Paddy Fletcher, way to go Paddy
J: Well Paddy Fletcher is waiting in the wings because he wants to
see you again.
R: He's here
P in London accent: Bloody hell Paddy! Do I owe you money? I probably
owe you 50 quid or something.
PF walks on, claps hands and points at Pierce (almost like a gun -
007ish - but not sure if that's what it was meant to be) and Pierce
is up off the sofa and walks round glass coffee table to him
P: Look at you
PF: Pierce baby
They hug each other
P: Oh God bless you man.
PF: What you been doing with yourself
P: Oh just hanging out.
R & J laughing
R: Oh he failed and went to America
PF: Ah, bless him
P: Come and sit down (directing PF to the sofa and into his vacated
seat)
PF: We wouldn't play here - Twickenham Rep wasn't it?
R to P: He's got your lighting now (then to PF) so you'll look
terrific
P: Oh right, I'll put my head over here (leans onto PF's shoulder as
they're all laughing and P and PF are pushing each other playfully)
J: So you obviously realised he was an extremely stunning looking
young man but you also
PF looking at P: Yeah but what happened?
P as R laughs: No, it's good makeup mate. It's makeup. And you're
running the theatre now?
PF: No
P: Oh. But you're still down there?
PF: No I'm ducking and diving and all kinds of things
R laughing: We got the Salvation Army to find him mate.
PF: Her Majesty's Pleasure I was recently, actually I was, yeah.
P: Yes, ha, ha, ha. Was it, oh, for god's sake, that's a good one
(then serious as I think he realises that maybe he wasn't joking) Oh.
What are you
J (I think moving the conversation away deliberately here): There
were quite a few people weren't there? Tim Roth
PF: Tim Roth
J: started out there
PF: Gary Olsen
J: Gary Olsen
P: Stephen Rea was down there
PF: Stephen Rea, yeah
P: Stephen Rea
R: All those guys from down there, so this guy was no flook. There's
a whole generation
PF: Just a crew of divers maniacs just descended on that place
R: Well it's great to see you back together again
P: It's wonderful to see you mate (holding his right hand palm up for
PF to take with his left hand and they shake)
R: Such great memories and thanks for dropping in and listen, once
again
P leans across to shake R's outstretched hand
R: We've gotta say, The Matador (to PF) Have you seen this film?
PF: No, no. I'm looking forward to it immensely
R: You've got to go and see it
J: It's fantastic. It's really, really good
R: You will really, really enjoy it. It's amazing
P: Well bless you guys. Thanks a million (shaking Judy's hand)
R: Great film, really enjoyed it.
P: Cheers
R: Lovely to see you both
P: Cheers, thanks again, especially you (can't see who this is said
to but maybe PF?).
R: Thanks for coming in
P: Thanks.
J looks up as if from watching a monitor: And The Matador is featured
in the London Film Festival and will be screened this coming Monday
(today 24th Oct) and the details are on our website and it'll be on
general release early next year.
The End