Conversations with Andrew Scott of FLEABAG

hi everyone my name is Leslie O'Toole I'm a contributor to backstage and Los Angeles Times and I'm delighted to introduce our guest who as you can probably imagine is one of the hottest things in the UK right now all anybody can talk about is Andrew Scott the hot priest but of course you've seen him in many other things from Specter to Sherlock and you might have seen his TV version of Hamlet he played that on stage at the Alameda in London two massive acclaim a couple of years ago anyway it's my great honor to introduce Andrew Scott so clearly it's not a coincidence that you almost distill the second season from the lady of the hour herself you and Phoebe go back ten years when you did a play together but I understand that this happened you just heard from her out of the blue where a long time can you talk about how this came about yes she she called me last summer of course seen the first the first series unlike everybody else loved it but she called me last summer and we ended up meeting in Soho where we done the play we did the sort of Fringe playing this and in the South a theater and in Soho in London and then we had this extraordinary three-hour roll around around Soho and I actually took her to a venue that appears in the in the one of the forthcoming episodes of of the show and we spoke for about three hours and about love and you know loss and religion we talked an awful lot about religion and I'm trying to create a character that we haven't really seen on television before I think a lot of the time and Catholics are conveyed you know as you know the humanity human side of the more intriguing him we're really seen so and we talked about love and how it had the surprising way it manifests itself and had you agreed at the end of the three hours that you were going to do a not seen anything yet no hadn't seen any scripts and at the very end of it I said yeah I'll definitely do this then I wrote my agent told her well yeah yeah it was great it was I just knew there's something about Phoebe's energy I think the most extraordinary thing about her is that she's able to two things are able to exist at once you know great comedy and great tragedy the the the series develops in the most extraordinary way I mean that isn't public relations as we're saying that is genuinely such a beautiful beautiful television and it's really had this enormous impact back in in London and I think it's because she's able to she's able to be playful and either you know a lot of actors or will really appreciate the idea that like what a lot of the time when you're on set the main job seems to be to complete the Call Sheet just to get it done and you know - and actually what she's able to do so brilliantly is to is to be playful and on the day so that you feel you feel like she comes up with ideas so many things that are still in the show or things that we we created on the day not so much plots and everything but you know just but just um these are extraordinary ideas and the idea that we're in charge when they say action till till they say cut that's your time and rather than just feeling this enormous pressure from you know completing them it sounds like she's a very generous sector when she could be a control freak since it's very much Hersh yeah right yeah yeah yeah it's it's it's a it's a big task you have to have a generosity of spirit I think to to to not to allow people to do their thing but also to have a you know you want to be you want a benign dictator you've already used the word human and and yes it is a very humanist portrayal of a priest we haven't seen someone like this you might be interested to know that in the UK apparently and sales of gin and tonic and a cat and have increased exponentially since the show aired i'm and i gotta tell you that priests porn religious religious pornography has increased by a hundred and twenty five percent that is that was in order to go these extraordinary in pact of the shows being like these weird articles and these facts emerging over the but that's that's the latest one I heard that two days ago I mean it's it's not the first time results are in is it the show or is it you because you had a very similar thing happened when you appeared on Sherlock long long ago no I didn't ever I think people do over priests I definitely this must be a good thing I think so too I mean what's that important to you that he was portrayed this way if he'd been a conventional type that we've seen oh I think less appealing I think I hope so I was brought up in Catholic Ireland myself and certainly the damage of the Catholic Church remains with me to a certain degree and even though I put that to bed now I hope for the most point do we ever do me everyone exactly and but yeah I think the idea of D sexualizing people whoever they may be I think is a very dangerous one and so the idea of what happens to men and women of the church what they do with their sexuality is a very interesting one to do to to me because of just what happens to their their human instincts and I think sometimes the way we talk about people of the church in relation to we talk about the damage that don't talk about terrible child abuse and all those awful things that when I was going to school and the 90s every week in Ireland there were these horrendous abuse cases you know literally weekly so um so it's just a try and I suppose be a bit temperate temperate about it because it's not a freebies great gift I think is to talk about people's humanity it's been it's been hailed really as a great feminist show but from my money it's it's she's a great humanist she's interested in in all of humanity and she's a great philosopher actually I think I think that really develops in the show I mean she and you know Sharon Hogan with Austrian divorce and you know also Deborah Davis who wrote the favorite 20 years ago yeah all of these women seem to be very much at the vanguard of a change in our you know popular culture and I mean television film everywhere I mean why do you think that is and obviously you know this sort of medium translates so well internationally as we can see I mean although I also feel that you know it's essentially British also what why do you think it has this worldwide appeal I think it's patronizing to a certain degree I think sometimes happens when it's female work is that people talk about the femaleness of the work rather than the work itself and what's significant about it is that the numbers are so low there's just not very lot of times when you're on on a set where the boss is a female um but that doesn't mean that I don't suppose it's just dangerous this is very very extraordinary unique adventurous work and I don't think audiences are genuinely interested in box tick box ticking I think they're interested in really strong work wherever that may come from and I think that's the important thing to to remember and it's just important that those numbers increase but not just for any you know I as a somebody who's a minority myself I don't I don't as a gay person feel like like I want to get employed for that reason I think you have to sometimes work a little harder but that's certainly no bad thing it's just the numbers the the playing field has to become more more even and that's what we when we should look the the talent of the individual I love to quote I read that you said your favorite thing about playing him was playing love and I just wonder if you can explain that well I suppose I did it's something I've done a lot of work a lot in the theater and I you know as an actor or anybody here will say that you don't want one story to become to overtake the others and I think for a while playing very extreme characters villains to a certain degree they were the ones that had sort of international you know because it was James Bond and Sherlock was a big show and I you you but I've always worked on smaller films and stuff like that and I suppose as myself I'm a I'm a like a romantic person and I felt like that I've never able to sort of express that in my work and and I suppose I the kind of acting I enjoy watching his doubt is is delicate and human and then I became I think maybe just less interested in in playing freakish characters because I think we've all got we've all got well you know we contain multitudes and then you just you just wanted to to to play love a romantic comedy I think is something that is vastly underrated you mentioned obviously you're an out gay actor playing a straight role 20 years ago that might not have happened it certainly didn't have you know some like Rupert Everett and your age and you know girls Andrew Reynolds is playing a straight character on the Showtime series black money Monday now and you know there's very little comment on it the comment I've seen is about your incredible chemistry with Phoebe yeah about the fact that you're gay I mean it's a real sea change occurring for people like you I hope that has wider implications I think I think that it's become a sort of story in in England about - it's always fascinated me that chemistry is an extraordinary thing and Phoebe and I just have it we just have really great chemistry yeah and I feel like um I feel like it's almost insulting to both of but both of us just to think that there's something that would be beyond our but beyond our capacity yeah yeah and also it's also a very strange thing about comparing yourself to other gay actors I don't think that happens to straight actors I don't think you go to Daniel Radcliffe well you're the same as Sylvester Stallone I know you have the same quality yes because you have we all you know you don't so that that terrible thing that you just want to rip off I've been quite ferocious about that in a quiet way about about the stuff that we should be allowed to like to play but the important thing is - it's something I say a lot being gay is not a four but nor is it a virtue it's not a talent it's not something you can actually it's it's something that you have so it's it's actually not possible to cultivate it in that so so you just have to get good - the only important the only important thing in this age where we're talking about representation so much I don't think we should forget too much about transformation because when we're kids and your parents tell a story to us and they put on a funny voice you think oh my god that's wonderful because it's it speaks to me of empathy um but again it has to be about the who gets to play that and the love that the playing field hasn't been even but that I just don't think we should be distracted about about what the what the purpose of art is which is to be empathetic did you and Phoebe have that chemistry when you did the play we did we did we definitely did I remember yeah there was that was quite saucy that play yeah yeah yeah it was it was we did yeah it's extraordinary thank chemistry yeah really is you just either Hamish or you don't and she's so we have this extraordinary editor as the series progresses it without giving anything anything away I don't mean chemistry necessarily has to be romantic chemistry it's just well you just enjoy acting with the person isn't it yes we can't take your eyes off the pair of you isn't really something that you you just know immediately I mean have you ever had to work on developing chemistry when it just wasn't there yeah I think you can sort of fake it a little bit can't you but that's what the audience wants to see I think that's the really important thing to remember you know when I used to find that quite on big bigger budget films and it's so overwhelming and there's huge sets and goes 300 million quid to make this thing and you're there you're so intimidated by the thing and I think the really important thing is to remember its playfulness you play a part that's what you do you play yeah and I think sometimes serious acting is that kind of thing that I i abhor and sense in a sense the idea of high art and low art and you have to be playful and sometimes I think in the attempt to win prizes and awards you you tell the audience so much about how much homework you've done I mean I always think that's like if somebody's come wearing to your house for dinner and you say oh my dad we spent two hours vacuuming you know cause cause if you don't want to know you sort of welcome you know you just you know it's like let's not their business you know just go comment just come and enjoy and I just think sometimes it's a it's a way of you know I get it and and that's not to say that that work shouldn't be done or but it's not really the it's not what should be prioritized to my mind under so I feel like being playful and keeping that chemistry alive even if you're on a big set you have to remember okay what matters because I've seen it where they've spent millions of pounds on on sets and you give krypter the actual thing that people are all audiences are engaged with um it's just actually just completely neglected you know which is I think is why sometimes CGI feels like it's going on the down-low no because people like let's just just not sure people are that interested in that ultimately so given that you had a brilliant script here for every episode assumably and you did mention that things evolved I mean what what did evolve is she Precious about her words I mean are you literally improvising yeah actually I think I you she is very specific about where to go I prefer that don't say half nine say 9:30 don't say you know just so you know those things and that's true because language is some words are funny and some weren't but then you're also going I'm gonna say this because I love when you say that but I like the idea I think some of the most unhappy experiences that I've had on set is when there is no leader and I think as actors a lot of the time you feel like I have to save the day here I have to say that it was these people I'm gonna clear so you go ego but actually when somebody goes no I liked it when you did that I like to lean that let me go okay I'll give it up I'll do that for you and I think analyze it allows everybody to do the job that they're doing you know that shouldn't be understated because actors have have to have a kind of directorial instinct as well about the rhythm of the scene and all that kind of stuff and then if somebody has that and you trust them it's so fantastic because you really do feel creative what is the secret to her success yeah I mean she's so phenomenally young I mean even back then ten years ago did you think oh oh yes you know a spark of divine fire doesn't she I do think it's about understanding humanity the absurdity of it and she knows how to have a good time do you know how to have a good time and it's one of those things he can't really explain it and but she's kind she's kind person and I think that allows her to say these outrageous things that could actually be cruel or sort of arch in other people's yeah but she's got a a bigger romantic harsh yeah yeah I love her I absolutely love her you mentioned went to Catholic school in Ireland and I also went to very strict Catholic school I know what I'm sorry for your trouble to you it was trouble but you but you actually started acting to develop your confidence at school not because you desperately wanted to be an actor so can you talk about that journey and at what point you thought hmm I'm really good at this and maybe a career well I had a sort of a little s but really quite strong leash I like this and so my mother was bit like oh what's going on there but I used to watch I used to watch you know those big sort of Hollywood films you know old school films when I was a kid I sort of loved him and there were these wee drama classes that were that started on a Saturday afternoon and I said okay well maybe I'll go and I used to go and I was like terrified but then something happened mm-hmm when when I went in there and I didn't feel I did feel frightened but I felt like Alya I'm free I felt free absolutely and and I suppose I felt I thought I was good at it in some way or I could put on accents or whatever that was and then yeah that just sort of then when I was about 17 I got a lead part they kind of these casting directors came to our little drama group and I got a lead partner in a in a film and then I went to the Abbey Theatre in Dublin when I was about 18 or 19 and I did a series of plays there and I got kind of addicted to good writing I really do think I got I got a very grateful I sometimes look at young actors who get success very early and I think oh that's very difficult because you're told so much as you know you're this well you're gonna be this is you're never gonna be that well you're oh you're just so much this waves of opinion and I feel very grateful that I was able to act without too much scrutiny you know and to do all these things and to understand that writing somebody putting their autograph on good writing it's the the writer wrote to my mind is the actors best friend even more so than the director I think they're just that very much inform your choices those yeah yes yeah there has to be some some sort of thing where you think that's unusual where that's in the part or you know certainly in the theatre I feel like it's you know even if that's virtue of if there's something just something slightly askew but for the most part it's if it's because I don't think you can make a great movie out of a mediocre script yeah Hollywood keeps trying keep trying so you said you got to act under the radar for quite a long time when did you become so very obviously above the radar mean was it Sherlock that change yeah absolutely and I was 30 I think I was 33 or you know I've been working for a long time I I always say this advice you know I think it's very dangerous the way actors are spoken about in the media because history has told backwards you know just a successful actor to me III in a way I just just for actors young actors who are starting off there are loads of successful actors that aren't famous and that are able to move in between genres and and theatre and film and TV and radio and do their own stuff that are successful because they're doing it and but as regards as regards sort of cast ability or all that kind of stuff there's no doubt that being a shell that was sold order in the world helps just helps and then but having said that I I didn't feel like I was I'm a failure when I wasn't famous and I didn't feel like I was success when I was you know I didn't feel like there was still stuff probably even more so when I'm after like that I thought yeah but I don't want to just not over you know it's not a destination there's still so I'm something like this I spoke to my agent four years actually I was like I'd either said I'd love to do something because I feel like there's a lot of stuff that isn't within my gift but there is stuff that I feel like there about being romantic is the wrong word but certainly that kind of character that's closer to myself is appealing to me because the more the more I work in the industry the more I feel like it's not about pretending to be someone else it's exploring different parts of yourself and I think working out who you are is very very beneficial to your work as an actor and I think like you know I don't think it's any coincidence that when I was uncomfortable with myself I was very comfortable with playing freakish crazy outlandish I found out I find out easy and then the more comfortable I became with myself the more I thought yeah but there's this other so I think it's just being able to somebody said a beautiful thing which is it's like it's it's playing with different parts of yourself but still remaining intact you can take a risk but not too much for risk it's it's a it's a beauty it's a it's a to me it's a very I think it's kind of an honorable thing to do for a living a country to other a lot of people think they're presumably Sherlock then also change things professionally for you suspension I mean did you immediately see a change in terms of offers and that sort of thing yeah but a lot of them were you know variations on the theme so that was actually the time where I changed representation and all that kind of stuff because it was there was a lot of stuff about Fame and money and profile and I think you've got a you've got to be you got to go nope nope mean you were being pushed in a more commercial direct yeah there was sort of sort of decisions at one point and I thought no that you don't really understand what the value of it I think a really important tool for actors is to be able to know what the value of something is what's its actual value and that's not financial value or something it's what's its value genuinely what's it going to do what am I gonna learn and how is it gonna change the story for me and that doesn't mean that I'm like oh my god I just want to just float around that suddenly I don't think that having been business minded and being able to discern what's our value are mutually exclusive you know so yeah I still feel like you know the war is never over you got you gotta go what's that's like coast around because you know we're not here long so I want to I want to want to play as much as I can for what play one type of thing just because to be able to buy some stupid house we have someone here who saw you doing Hamlet at the old major in London and don't worry it's over now that's four hours long there was a review in London's Financial Times and the journalist said you know I've seen so many Hamlet's I mean obviously so many great actors have played Hamlet's and he thought yours was the best and obviously you achieved huge acclaim for that role how on earth did you approach that well allons was such a fascinating thing because um there are you know I think there's something like 700 books written on Shakespeare how do you speak Shakespeare how do you ever well I think if you did that to any other writer you would the writer a contemporary writer you would absolutely suffocate all the actor to be terrified you'd think oh my god and I think there's a there's a certain degree of terror by Shakespeare thought actors feel like that oh I'm not in possession I certainly felt I'm not in possession of the gift that you need to have in order to speak Shakespeare and that's just not true he was so interested is incredibly active all so febrile and so we wanted to be able to and my big thing to rob Mike is this sort of extraordinary director who directed it and was to be able to speak it as conversationally as possible for me to understand everything everything that I could because there's a way of sort of speaking Shakespeare that sort of sounds like a it's like a photocopy of a photocopy of a photocopy of something that you got well this sounds like Shakespeare even though it sounds like another Shakespeare production that I didn't understand so and then it's just sort of and so to sort of crack crack that open was the most was that was the biggest challenge and Rob the art director said this brilliant thing is like Shakespeare shouldn't be like eating your greens it shouldn't be like come on watch your Shakespeare you know it was a four-foot it was like a four nine four for our production production and to bring young people to the theatre you've got to be make it as exciting as a box set because people will watch at 16 year old will watch seven hours of traffic oh my god we live in the box that generation come on let's watch another one it's not about the time it's about make it as exciting it's a thriller and it's about mental health and I had to it's an extraordinary part because you have to explore all those different parts of use of parentheses it's got to be really funny he's a lover he's he's a soldier all those things and it takes a lot of stone and we did 150 times and wait to do it twice a day is four hours long yeah yeah it's extraordinary a 1,500 lines thank you thank you for what's your regimen when you're doing something so physically demanding is that theatres is exhausting it's home you just sleep a lot and eat really well well no I don't really write I I like I like I've got the sweet tooth of anything that you would give a four-year-old child yeah I just use Cadbury chocolate that's not a good I noticed you play opposites a lot when approaching texts how do you approach a role without falling into conventional traps not necessarily just for Hamlet it's a hard question to answer yeah I don't know I think the most important thing is to go what do I think what do I think and to really take a bet on yourself and go if I got it wrong as I have so many times I think it's really important you know when we're talking about safe spaces and things that are I thought a terrible thing I think it was Mike Pence said that you know when they when there was all that Hamilton controversy and I said theater should be a safe space and I thought not shouldn't theater is not safe space it's not a safe space that's somewhere where you go to be challenged and to be like oh my god this is the before you so I think the the ability to be able to make a real idiot out of yourself and get that was wrong that was wrong and I you know yeah a lot of the time and I get it really wrong in rehearsals or on takes but if you're gonna be but you gotta try something and I think sometimes the most boring acting is when you think somebody's just you know they're just sort of just it's just dull yeah and people have an extraordinary of expressing themselves and I don't know I just think you just go look it's not so I'm not taking it too seriously and to play with some some degree of freedom I don't know if that's opposite but it's just it's just ask the questions and that's why it's not safe and you also did a TV version of King Lear and you said Anthony Hopkins was the most engaged actor you think you've ever worked with why he's he's 80 I just find it so moving no that's not right like it's so it's he I find that really moving that somebody who's 80 years old and you continue for so long because he was given this incredible part which eight-year-olds aren't given so much that he was just like ready to eat it and he was so for he was so ferocious and interested and kind of childlike in a way and that's what he has that in great abundance which is that sort of simplicity I remember I think it's Picasso said I spent my whole is it I spent my whole life trying trying trying to play like a chore trying to paint like a child I thought yeah there's something in that and that's that's hard you know and I think career ism for actors is a real is I think the thing that bleeds us try a little bit you go you know that's that's hard to to you can get drowned and that about getting to a certain certain place but anyway Anthony Hopkins was was was he's he's he's got it all he's got it all he's got a darkness and he's got an incredible lightness and I'm he was incredibly kind kindness as it is a big one for me I think if you don't have kindness I don't see how you can be a really good actor and then what about your gigantic movie experiences like what do you take from those sorts of films well it's fun mm-hmm it's fun the Sam Mendes I've worked with a few times it's one of the great things about and acting is is going coming back with Phoebe ten years ago working as as we were in this little Little Theater the one I did was Sam was not the little small thing was a play on Broadway but but he invited me back and he's got loads of theater e-types inspector and Skyfall duty engine Ben we're showing all these brilliant PA finds and all those people and but I did find this intimidating actually if I'm honest I think I could have been more courageous then I think I could have I think I think I could have made that character a little bit better array don't think anyone has any complaints I'm sure they do and are you still filming 1917 or is that yeah it's still filming yet it still filming it this is his latest film yes and mendacious reunites you of course with mr. Cumberbatch yes yeah yeah and Richard Madden the bodyguard yeah strong yeah what what a cast yeah believable closed and and you've come a long way in war films from being a soldier on the beach and Saving Private Ryan yeah yeah yeah I was a soldier of Tom Hanks rolled over me when I was 19 that's not it's not about that and how it is reuniting the Sam and mr. Cumberbatch and it's great it's great it's a it's gonna be a really extraordinary film I think he's got a he's got a very particular connection with World War one and he's he's got without giving too much away so there'll be a sniper shooting anyway information and but it's a very particular particular visual thing that he's doing with this film so I think it's going to be like unlike any war film we've seen before yeah however those who are you playing its own you can you tell I play I play a lieutenant yeah yeah you'll know what I mean when I see the film you see people very good um who else that you've worked with has really struck you I noticed you mentioned that Ken Loach before the extras names onset which is unheard of oh he I mean he was like Rain Man it was like you've come in here and he's know everybody's names then it's again it's kind it's kindness exactly right it's kindness it's a it's a it's a thing that he just refuses to give up just because he's a famous film director and I think I think you have to kind of hold on to your kindness a little bit because success is wonderful but you've got to remember it's it's it's it's more value to be kind I think and then to be to be cruel you can become I've seen it happen to people you can become kind of neurotic and it can be an exercise with successful actors I've seen a little bit and making sure that you get your own way but that's the that's the and I think that comes a lot out of fear because I do think actors a lot and have to save the day I'm very Pro actors I think most of them maybe because I kind of understand them and I'm from worked at the moment all my life and I think actors can be very generous because you're in the empathy game grace people sexy people say hot priest but yeah Ken Loach was it was a it was incredible but actors are that my favorite are like it there I've got loads of I was funded a little bit strange from here actor saying I don't have any actor friends or just have friends from school don't know that with actors anything well you don't do why not I don't you yeah because you know they're your they're your colleagues and I think to be competitive with other actors it's just it's just dumb it's just dumb yeah and it's so I wrote its are so eroding because if someone's gonna get a party that that if you're always going up against each other then look to yourself I don't know I just think just look to yourself in some way absolutely you also have a film that was just released this week a dark place that believe is playing the arena cine lounge this week will be available on demand yes how long ago did you make that film it was about two years ago so it takes a woman independent film took awhile to to find it but it's coming it's coming out really weirdly fleabag has just come out um in the past six weeks it's been genuinely extraordinary reaction to it in and wait till you see this show develops honestly it's so so it's so beautiful genuinely genuinely and I usually don't watch there's no farm in anymore yeah but I've watched fleabag the whole series I've watched it three times it's just so good and why am i why am i telling you that because of this other film its game yeah this other film it's coming out and it's really different very different character as a guy who's kind of not neurotypical and it's sat in Mid America and he's a Pepin man you know did all our we shot it just outside Atlanta in Georgia and he's got all his clothes from bone alert my my costume in front Walmart for $5.00 and it's completely different to this so yeah it's really nice I love American movies so I was really really delighted to be it's my first American yeah yeah so can you talk a little more about the reaction in the UK because when I told my friends I was coming to interview Andrew they all went berserk and it really is a phenomenon yeah I mean what's it like for you on the street I mean you're you know you have a very distinctive yes anyway it's been incredible people adore at people a tourist I think Phoebe's just captured something for people there's a beautiful you know I think you saw it in there in the episode one I mean those scenes that she writes between bill Patterson who plays her father that line when he says you're looking which you guys are we gonna have a fight extraordinary thing I'm not lyin that line I don't want to give it away but where I talk about my brother and why I don't speak to him anymore there was a certain there was a certain there was a there was a different blowing originally and that was a bad word and the BBC didn't want that bad word and so they had to come up with an alternative about what why why and that's what Phoebe came up with so I'm not just shows the mind at work absolutely and there's also this sort of incredible sense of melancholy that it is yeah the last season only had two yes do you think it really is well you could the door has never never closed as I say but I think the finality of it is kind of part of its beauty in a way her great gift as the past as the the the series goes on is that you just feel this incredible sense of love the stitute been an incredible sense of love and loss in it and so yeah I think part of that and is is the fact that she just writes what she wants to write and she she's ferocious if I go no I don't feel I don't feel like I'm not I don't have to write more if I don't have to but then she said that'll be the first series - yeah so who's to know so so you clearly don't have a problem playing at work but I'm just learning is there anything else you've taken from this series just the costume from us just stop i I really do believe it's plain harmless which they say is a great tragedy you can't play great tragedy you can't play great tragedy without understanding that the the lightness has to be played there's no there's no tragedy for Hamlet if you didn't enjoy being alive you you you have to reach for the lightness in a tragedy and likewise in comedy you have to reach for the the soul and those two those four those are really great pieces of our thing and I do believe flea black is a great piece of art and I think it's just those opposites like the yeah they do saying the question I think opposites I am are up to opposites being contained in the same moment isn't is is what great dramas made of and what great nuance is made of and and cartoonish characters where you got that's bad that's good I think it's be really I think it's really exciting when people go I thought that presuppose a bit or I thought this you know I think though that we all have separate reactions to trauma is is a sign of good drama somebody else wanted to know if you'd had any flack from any Catholic priests or staunch Catholics at all no I think actually Catholics have been really responsive to it because it's made it relevant and there's a bit was a big article the other day about allowing Catholic priests to marry because they're on them they're on the on the way in there even when I was growing up there was very few young Catholics and I think I think that idea of how do you keep your faith and still be a sexual kind person who's interested in your community those two things have to coexist as well its opposites again and so no not too much flak no no and you might have heard that Phoebe is rewriting the upcoming Bond films yes sir and you chance to roll it and in yet another Bond film no I think I think I've had my time on things Myles I fell from a fall from a very tall building Oh whose - no whose - no yeah yeah that's great she's doing this that's great yeah it's fantastic okay on that note thank you very much thank you thank you I'm sorry you have to all wait for May the 17th to watch the rest of it but enjoy very much for coming everybody [Applause]

Channel: SAG-AFTRA Foundation

Views: 104,592

Rating: 4.9709997 out of 5

Keywords: SAG Foundation, SAG-AFTRA Foundation, Acting, Actors, Andrew Scott, Fleabag, Lesley O'Toole, Q&A, Interview

Id: XR82_hlk71Y

Length: 42min 7sec (2527 seconds)

Published: Wed Apr 17 2019