Eddie Redmayne In Conversation | BAFTA New York

and I'll never forget walking into the room it was a rainy day in New York with downtown and I walked into a room and absolutely sopping wet and there was Julianne Moore and she said you even look like my son I was like I've never been so grateful for my freckles in my life I was like thank you so let's get right to the meat of it what's it like being a heartbreaker oh god I don't know that I'm suddenly not a heartbreaker there's a serious side to that question so you seem willing as we witnessed in the clip reel there and anyone who's been following your your work you seem willing to really take on characters that demand the audience engage in a physical reaction themselves whether it's emotional in that I guess in a classic Hollywood way you'd say in a tearjerker or in a horror scenario or a kind of you know some sort of real tragedy that's a risk as an actor to take with an audience that you're asking them actually to be with you rather than to want to be you and I'm just wondering if that's something that's conscious for you as you're creating these characters knowing that you you were actually in you potentially are inciting a reaction that might be very physical for your audiences oh that's a great question is the heartbreak know that the heartbreak um there are various things I suppose the first thing for me is the idea of choice the idea that you have choice I want to make it absolutely clear from the get-go that I I get to do something I'm absolutely passionate about something I love since I was a kid um but but there's no question that this idea that one strategizes or makes really specific career decisions I mean they're one dreams of that but very few people in this industry have that choice and so whilst there have been moments when I've been lucky to be able to say yes or no to something there's also been a lot of auditioning for things that whatever it is try and try to retain employment um but that being said I think what you're referring to is an emotional or a visceral reaction to something and I am someone that I'm a pretty indecisive person by nature and I've learnt over the years to try and train myself to to live by instincts and and when I first read a script I'm a really bad reader a very slow reader takes me forever and I'll do anything to distract myself but if I'm kept engaged by something and if I feel an emotional reaction like I did when when I read Lemmy's and also I had seen the stage show but but certainly with the theory of everything and my week with marylin there were absolutely visceral moments or with savage grace one of the films that you saw there which I'm not not a huge amount of people have seen but it was a film with Julianne Moore and that wasn't that was again a very visceral reaction I had to it so I try and trust those interesting well we're very glad you do because they they work you know we we get engaged and certainly with a theory of everything I mean I'm not alone in having left the theater and tears but also inspired in a way but I think what made me really think about it is folks of your generation and younger and and even older at this point it feels like there's this push to be the kind of superhero movie star right so that you're this character that's very aspirational that audiences would go in and I want to be that guy or that gal and you seem determined to act and be a movie star and to really again engage with an audience that doesn't aspire to necessarily be you but to actually be with you or your character and that also perhaps allows for vulnerability in you that you know audiences think that maybe you're more approachable or something rather than being up here on this pedestal and I know you said it's not all about distinct choices that you're able to make but it does seem that you've able to navigate that say what I also think is interesting is that the term movie star is one that what you know in Los Angeles people often go you know they'll literally ask that question do you want to be a movie star and I always respond I don't know what that means you're already one I think I am by a tool but I think there's something don't get me wrong I also love those films and I've been up for a fair share of them and had really interesting experiences I did a film it's not a superhero movie but a big sci-fi sort of space opera called Jupiter ascending that comes out next year with a witch house keys and and and every job has its own own challenges and that I mean I mean that was really an extrordinary challenge in its own right because I have a limited imagination and when you work with witch house keys they have such an extraordinary imagination that when you go to work with them it's like you're jumping into their world and you have to trust them entirely and my fear with that film a lot of which was shot on green-screen was this idea that you know what if you can't imagine it right what if you can't you can't take yourself there and I thought that might be quite restricting but in the end it ended up being one of the most liberating things because actually you give yourself over entirely to the directors whereas on something like Hawking the theory of everything you know educating yourself about every single detailed element around it is it was such a different process but but one of the things that I I keep filing with with this life which is an odd nomadic1 is that there is great variety to be had and you've got like sort of you've got to love the variety which I do and keep challenging yourself in different ways so you've touched on a number of things that I want to come back to through this conversation and we're going to be drinking our vodka flavored water throughout the conversation so if we get a loose at a certain point but let's go back to to the beginning to the background I had the privilege of at least seeing your mother if not formally meeting her earlier this week and I have to say she's a stunning woman you were the spitting image of your mother it's really a shame you're not a girl because you would have been a beautiful woman but you know I guess we can't have everything and you and I are both kind of cursed with this Baby Face disease but you've been working since you're 20 you're now 32 if Wikipedia can be believed you've been at this for a while let's talk about you know when when you started out and that initial inspiration to go into I suppose theater at first and then film soon thereafter well I I come from a family who are not in this world at all and I just had that probably slightly irritating a cautious enjoyment of theater when I was a kid and and they would take me to you know two lemmas or Rob and so the sort of big musicals that took me and my brothers and and and Wheatley that there was a sort of symmetry to that in the sense that it was going to seal a mood when I was about seven or eight and seeing the little kid playing Gavroche you know clearly taking the day off school was getting to like run around be an urchin be a hero all right looks like he has a good life I want where he's got um and and and so so I started you know I did stuff at school and and I had I then when I was like 12 or 11 or 10 years old 11 years old I they did a production of Oliver in London which Sam Mendes directed it was before I think he had got into film and I auditioned and I was like as I urge in number 46 a forward slash book boy I had a named part I had a specific line that went books you order from the bookseller sir and it was I remember it still it's a goodie a very important plotline I'll have you know and it's and I again I got to leave school during the day I got to go to the London Palladium and I got to kind of hang out in the you know and but I was one of hundreds of kids the cast changed weekly and but I got I got the bargaining and and it was amazing because it was um firstly Sam Mendes I don't think I even met Sam and as whilst doing it because I was several casts in and and you know they're big machines these but I remember it stayed on my CV for a long time until actually had to go and meet Sam Mendes for a job at which point I was like I should probably take his name off given he'll have no idea I have have you met him Dean I have yes and acknowledge that he remembers you nice but the other lovely symmetry was then jonathan pryce who's a wonderful actor and has always been a great mentor to me um played Fagin in that production and years later my first play in London was a play called the goat um an Edward Albee play and I got cast in that and Jonathan was playing my dad and I arrived on day one a set I was like John we've actually we've we've worked together before and he went really so yeah I was in Oliver he was all really really what were you Oliver Dodger cuz he had hundreds of birds I was like how's that your number forty-three /but boy cuz I forgive me for not remembering you and remind us what your capacity was amongst other things in the goat with Jonathan you you told a little anecdote up so well I played um it's an amazing play it's a play that's set in New York it's about um this sort of couple very successful couple they have a gay son everything is going fantastically well for them and it transpires that the husband is beginning he's clearly having an affair and and then the affair is with some called Sylvia who it transpires is a goat and and the play it's extraordinary because it goes from it was a new piece of writing so it's the first new player done and and it goes from this like utter comedy like this extraordinary thing to a depth of tragedy and and it literally has Greek elements to it and and I remember this extremely thing of being able to be up be offstage every night and he hear an audience roaring with laughter knowing that with somehow through what Albie had written and what you know Jonathan and his partner Kate were doing you know I knew that the audience had been tears by the end and that was really the power of that world that excited me but I also I got one of it was my first time ever in the West End and my opening line I wasn't in the first act and my opening line was I came on in the second act I was playing their son and the lights went off in my opening line was you're doing what your a goat thanks and it was and then Jonathan by my dad was like um don't swear in front of your mother or something I'm like what you're a goat your time you're not a swear I said this and to get to say that on the West End stage being offered was that was a great great moment for me less good was the Russell a night when I there's good wasn't when I had to snog my kiss my dad later in the play when the guys there's all sorts of confusion going on and my family would come and watch it and my brothers would basically come and watch to watch my dad sort of squirming as I went through I bet jonathan pryce remembers you now yeah he's a good friend thank God it took several shots for so sticking with theatre and we here in New York of course remember your great triumph in red not so many years ago and what struck me about that getting back to this this idea of choosing to be an actor or actually being an actor you know that your character Ken is dealing with somebody who's a star right he's star artists Rothko but at the height of his powers but he's also faced with this choice between commercializing his practice and perhaps remaining true to something and you're this voice of reason and you know I we do this we you know I read you know about you I put things together and say oh yeah Eddie's the voice of reason and consciousness and art art you know was that something that really for you has resonated beyond just doing the play because it somehow feels like maybe it has um Cody's stroking having someone who's seen lots of your things finding patterns is amazing kind of like being on a therapy chair these are these people you guys are enjoying this therapy session for me because know that's a what anak amazing point I yeah that that play was at a period where I've done some theater in London I then got into film people often say this idea you know theater is real acting and film is this somehow a sort of a lesser thing as far as the craft is concerned and the thing that I found was when I started doing film it took me four years after starting being an actor to get anywhere close to getting a part in a film and that first film that I did I went to Australia and I was playing opposite Toni Collette to wonderful actress and after I'd only done theater and after like an hour of our first my first time in front of a camera after an hour she's like ed you want to go and watch the playback and I was like no no no the director said I'm I'm not allowed she's like come and watch the playback I'm like no no I'm not allowed she's like come watch the play thank Christ because my eyebrows are doing this I was sort of basically doing performance like projecting to the back of the stalls you know when actually the camera was here and the amazing thing that I learnt through that was this idea of of really distilling everything to something that was closer to a human truth and that's what a camera sees and what I've always loved is varying those two things and coming back to theatre and then going back to to film and maybe similarly that kind of that confusion or oscillation between like Commerce and art you know that by the point that I got offered read I had done you know still trying to learn I didn't go to drama school so I still trying to kind of learn by osmosis from other actors and I'd work with some amazing actors but I've done some scripts that I thought were going to be great with great actors that really didn't work at all and some that I thought were awful scripts but I sort of needed to work that ended up being kind of interesting and I realized I had there was something alchemic that happens in film that I had no idea about but when that play came I was a bit disillusioned and when I read it I studied history of art at university and it was one of those amazing moments when everything you're interested in the commerce art the idea of being theatre it literally being about an artist but also this idea that Rothko would turn up to work every day in a suit in the Bowery and he'd turn up at 9:00 and he'd leave at 5:00 the idea of like artists practical artists everyone trying to find form in the formless is really interesting to me and I find this life of being an actor in some ways is so wonderful that you get to do live your dream but but it's so unstructured you're so out of control you haven't you really do have very little control that always trying to find some sort of order and that was Rothko's way and and but that whole experience started as a little play in London working with Alfred Molina who is just the dream like one of the great human beings and great actors and and and we went on a big journey with that and with Michael Grandage who actually Felicity Jones who's in the theory of everything Michael was a great supporter of mine and Felicity's very early on and that sort of how we knew each other so it was a very um it was amazing moment that come back to you know your generations ability to kind of merge art and commerce which i think is important because that was also I think a bit with with Ken representing the Warhol's and Rauschenberg's and the pop artists who kind of came after who really were able to synthesize art and commerce brilliantly but speaking of Felicity and some of the amazing I mean just going through your your filmography and and the work you've done you've worked with some amazing ensemble casts and some brilliant directors but you actually seem very gifted at two handers as well or not as well but maybe you know kind of rarely so that you know I'm thinking theory of everything which folks will see soon if they haven't already My Week With Marilyn Savage grace and and red and in theater this ability to care a kind of carry up it either a picture or a play on an intimate scale a very intimate scale between two people I don't talk a little bit about that if you have a preference if you prefer the the grand scale of lame is or you know or if they both bring different things to you and are fulfilling the only thing that I've sort of realized having done worked for a few years now is just what what scenario makes you work best and and for me it's being given the environment to be brave enough to screw up basically and because I think often the most interesting work happens when when someone okay I've got a third idea it's probably absurd can I try it and those directors that go for sure you know do it and it normally fails and then but those directors are going to try again rather than going to get on with it it's costing money all of this other stuff is that that's when I tend to do most interesting work now part of that is trusting the people around you and so maybe what you're referring to as far as more intimate element of working in two handers is that of course when you're working with someone that intensely you you you develop that relationship and you do trust each other and you have the ability to to be braver and to and again to sort of make mistakes but I am forever and having started in theater and really being really illiterate as far as film is concerned when I when I look at amazing screen performances and think that that actor may have met the person playing his mother 30 seconds before the camera started rolling everyone including myself I used to go yeah but they haven't have as many takes as they want they really can't like they really really can't like whatever that first instinct is is often the thing that's caught and so I'm in great admiration for people that can really make you believe when there is no generally in film now particularly there is no rehearsal time but one of the great gifts of the theory of everything at the Hawking film is that is that James gave his time he gave us like he gave me four months to prepare well that that would seem especially critical in this sense because it was not only the you know the verbal but also the physical very much in that which maybe the theatrical performance is lent to I mean read was also in a way a very physical performance as well so what happens when it doesn't work you've been in a few projects I know we're here to talk about how great is don't worry we're not gonna linger on this stuff but uh you've been in a few that haven't worked oh my god what happened hundreds like so talk no not hundreds it's a few coin I won't I won't name them because I don't do that but can you can you tell as it's happened like as you're making it and if so do you panic like cut or is it never the ear has it not been the case so far that you can tell as it's happening oh god this is a turd like got a move on that's a great question and it's one that it's like a constant like that's that's the unknown that's why people say don't invest in the film industry though there is no guarantee and I've done films with literally extraordinary casts and you know really formidable scripts that I'm like are we safe here this is going to be and I'll be a bit part but like I know I'm going to be part of something wonderful in it and it really won't work and on the other hand I've done the opposite I really it's very easy for me to to choose theater and um and it helps that I'm I suppose I've been lucky with the theater so I have a bit more choice there and there I just go okay this is like a proper equation right imagine that rehearsals a nightmare yeah the the other actors and we all get on horrific Lee and then we open we get horrific Lee reviewed no one comes and sees it is there enough in in a text is there enough in a character that three months on when you're performing to you know you know quarter of the house is there enough there to keep you going and that's that's literally the sort of the rule book that I try and use with film you can't do that I mean it's that there is the I did I describe it as alchemy there's something else that happens and the sort of control freak part of you can't can't um you can't control everything's and and you've never been discouraged obviously not to the point where you stop working because you've been thriving but I you know that's the hardest part for me to imagine not being artists myself for being a miserably failed artist I can admit is worrying that you put yourself out there and you do have to trust your collaborators and then when it doesn't work that that somehow you're able to process that and move on well the thing that I've learnt I think subsequently is that everything's there for a reason and for example there's a film called the Yellow Handkerchief which was with William Hurt and Kristen Stewart was the scene in the film there and I was playing an adopted Native American from northern Oklahoma and I I remember actually gene parsegian my manager who's here evening I member I was in town he's like there's this it's a wonderful script I read in ours like it is beautiful is like you should go for an audition I was like I'm never going to get cast as an adopted Native American from Norman Oklahoma and he went he went go to the audition at Elie oh you know and I went to the audition and because I was so convinced I didn't have a hope I just sort of threw I described it's like throwing mud at a wall I was like there you go you know and walked out and then and then I got offered the part and I think I just had to go and speak to the director to sort of tell him that that what I've done in that audition was complete like you know how was that I couldn't do an actual part from that that was just like I said oh is this like a sort of moment of absurdity anyway we went through the making of that film it's a little film it didn't have a huge audience when I was speaking to James Marsh again um for the theory of everything the director the theory of everything he had only seen English period dramas and those were ones that I'd done and and he asked me on the phone he said have you done anything that's physically sort of outside of you and I said I did this little film called Yellow Handkerchief and and that film which really didn't make much money didn't have a sort of broad um I don't know wasn't broadly released ended up being the reason that I got cast in in the theory of everything because he saw that the the mud on the wall element or like the jumping off a cliff element he was like oh this guy can he's having a jump of a cliff anyway he died and and so that you know there was a sense that in some ways these things are maybe I'm not a tickly fatalistic person with a dude that was there for a reason ya know that actually is brilliantly logical and I what I was looking to hear and I should really say I don't at all mean something doesn't work because it doesn't find an audience sometimes the greatest work doesn't find an audience that doesn't mean it's a failure it just means that it was out of its time or whatever savage grace which I for me is my favorite film that you've done so far I just think a brilliant piece by Tom Kalin you know I guess from the outside it was probably a stretch that anybody would go and see it a lot of people did not as many as people will see you hear of everything or certainly Salamis but I'm just wondering any takeaways I know that that's also a project that's close to your heart now that was a that was a project early this is a true story about um the the family that inherited inherited the bakelite fortune and they lived in New York and he married this woman from the wrong side of the tracks and she was a huge sort of extraordinary baekeland which Julianne more players in the film huge social climber and they had a gay son who she ended up sleeping with and he ended up killing her and it's an extraordinary kind of Greek story and it's pretty intense but that going back to the visceral thing anything in it but but it was a film that that when I read the script it just had such vision it was its own thing and and that was a film when I was working in London working in a pub in London and I remember I've again gene who was here we fought pretty hard to get in the room because again you have no financial currency no one knows who you are and I got the part and then the film the financing collapsed because as you can imagine it's not a massively commercial sell and and then a year later I'll never forget it I was I was working in the same pub in London and the guy who was my manager was about to go to lambda so about to train to be an actor and he was kept talking to me telling me um sort of stuff about about his you know he was with an agent what was he doing he said oh I've got an audition tomorrow for a film with Julianne Moore it's called savage grace I said oh well it had to stop my cells like me really oh that's interesting thank God well I was cast in that know in my mind's eye that's gone and I member calling cheating going there making it and and and and he's like I know but I think then maybe looking in a different direction and and that was an amazing moment in which Jean and my agent in Los Angeles Josh I remember they were going to heartbroken because these people invest in you and and and we fought our way back into a room and I'll never forget walking into the room it was a rainy day in New York with downtown and I walked into a room and absolutely sopping wet and there was Julianne Moore and she said you even look like my I was like I've never been so grateful for my freckles in my life I was like thank you but but again on that film I was then cast again and then the financing fell through and it was like you're you're you always try try not to invest to you emotionally in these films but but Tom Kalin who made that film who's a mutual friend of ours is one of these what I'm realizing now rare filmmakers and it was made by killer films who are in New York wonderful producing house who really give their directors authority and allow them to go and make the film they want to make and now one of the difficult things with film is that everyone there are so many people with opinions and what's difficult as an actor is you just you feel kind of fragile when you're working and you want to trust one person's voice you don't want to feel there's a stream of people behind the committee exactly yeah so I'm glad you mentioned your freckles and brings me to my next topic which is look it's difficult then it's personal and you can tell me to move on but you know I I am always concerned with the artists that that I value admire follow their ability to to keep on and part of that involves being on all the time you're at you know an established point in your career but you're you're still you know early in years I hope you have a very long career but did anybody tell you'd be acting all the time like the after the theater curtain comes down after the lights on the cameras are off you'd be doing things like this you'd be you know on on the circuit endlessly and also you know kind of submitting yourself to what now has become I find kind of abominable behavior by certain elements of the industry the publicity side of the industry that you know I in researching this came across a clip some British I guess it was a night a late night show or something where he had all of these famous important people in a pen and then he called you out and he was telling jokes and then to the point where he asked you how far your freckles extended and I was like my god you know that's the point I would have just walked out like nope you guys can have all this I don't want to talk to you anymore this is horrible leave me alone but you were very dignified and you made it through somehow and I have to believe somehow that was continuation of your ability to act through situations Rogers referring to I cannot say it was so hard for the Brits in here as I did the Jonathan Ross show and I just I I it was my first time doing a British television show and I just got off an airplane from Los Angeles and went straight to the studio and I was a mixture of jet-lagged but I had had three espressos have half knackered half wired and I walked on and he basically asked me if I had freckles and and he did and and it was I was a bit like well what planning my own like well um but to the Coryell question back I think it take why are you here why are you doing it but the core the core your question it goes back to what you were saying about the Rothko play which is Commerce and art now I think and I don't mean to be really pretentious about it but it's the same in the Hawking film of science and art Jane is it not studied English um Stephen was a scientist these ideas of opposites meeting one of the the alchemy that happens in film is through the fact that you have cameramen you have people who are in charge of lighting gaffers you know the specialists I mean even with even with the really the I've witnessed promoting the theory of everything you know the people from the from the studios who do specific marketing for specific regions there it's such a big team of people with completely different skills and the reason there isn't a financial model or a model an equation for anything is because there will always be that collide now I part of the answer to that question is I did films like savage grace and um the Yellow Handkerchief and I really try and pour everything into whatever part it is and so I do feel like when there's an audience you know you don't that's a good thing you you're doing this to be a storyteller and you kind of want to Pete want the people to see the stories and so I think this part of it promoting films I do understand that it is of business and I but beyond that not the business the idea of people actually going and seeing it and it's easy when it's something you care about and I think if you if you really look closely at this there's a sort of there is you can always see when those people are talking about their films or really it's because they're trying to encourage people to see stories they care about or Bravo to you and I really hats off because I certainly couldn't deal in the same way so now we're just a couple of bullet questions and then we'll see where that takes us is there anything you've decided you won't do no what are the best pieces of advice you've gotten and if you care to mention from whom feel free but what one that one of them was from a theatre director who directed the goat Anthony Page who said trust your instincts but it's taken me another ten years to work out how is the second you haven't in everyone says that like trust your instinct you know but how I don't know my instinct is thank you because the second you have an instinct you then you then start questioning it immediately and interesting I heard a radio show with Tom Hooper who directed Lamy and is a friend and it was interesting when someone you know really well but you don't hear them talk about their sort of look on the life and he said that that for him he likes to make film sets chaotic places because you're being asked 400 and 500 questions a day he's learnt to embrace that because what it does is it makes you just like dad I know what ours makes you do some weird Thai trick no no but it makes you sort of like give your instinct with it before you've got time to question it and and so that's one thing and the other was I once read a it was interesting time when I was starting out with and like a lot of my best pals are actors and I love actors and and we would all go to start out in London you know but what auditioning for the same parts then in Los Angeles then in New York you know always sort of there's a sense of competition and and it's by the fact that you're all going for the same thing and yet learning that these people become really really close friends some of them - and how to deal with that notion though there was a quote by this sounds again quite pretentious by um Chekhov - his wife Olga Knipper which was take life step by step pace by pace slowly slowly and leave the competition to others and that's something that I for one's own sanity in this industry which is fiercely competitive I try and do Wow that's yeah that's brilliant so keeping one sanity how do you keep British traveling the world how do I mean so I'm wondering you you've worked at home you've worked abroad the incentive I'm sure at this point will be for you to be away from home more often but I'm just wondering do you feel it keeps you grounded to be able to work at home or near home fussy how does one keep British um you wear you wear suits from Savile Row uh you um you fly British Airways no you I suppose what happens is that for me that's home and everything I sing about like the the nomadic nature of it I've loved living in North Carolina living in Louisiana in New Orleans New York I've lived here while I was doing the play but but the thing that I've realized with that circus like existent and there was a beautiful line in my week with Maryland where Kenneth Branagh playing Olivier turns to me and my character and goes you you happy you joined the circus and it is there is that element to it so but I've kind of realized that that my roots are home and that's somewhere where you can come home and you'll just let everything's unpacked and even if you lock it up and go and live somewhere else for you you know having that is very important helps that you know a lot of those great theater directors I've worked with have been British and those are places that I instinctively kind of keep wanting to go back to well we're incredibly glad you joined the circus I think maybe Luke we have time for a few questions three questions three questions for mr. Redmayne yes miss in the corner what did he think of Emma Watson's UN speech I was lucky enough to work with Emma on my with Marilyn it was one of the first things if not the first thing she'd done after the Harry Potter films and I just have extraordinary admiration for her um I think putting your head above the parapet to really talk about things you care passionately about is is very important and hence I did I'm not on Twitter but the he fishy campaign I'm fully behind I think she's an extraordinary woman and a great actress I think I saw one on this side or was it about Emma as well yes so the question is about savage grace and how his relationship with Julianne Moore kind of flourished and blossomed through through that production with the amazing thing about savage grace was it was that again it was really early for me so I was still trying to just to sponge up any it's technique I could and what I loved was the way that Julie worked versus the way that Steve and Elaine worked he played her husband was completely the opposite I mean Steven is a brilliant and quite sort of cerebral actor wants to rehearse once it took Julie as someone that just like you know she's entirely spontaneous and it was kind of wonderful for me because I had these two very different ways of working and and the son is kind of caught in between and I in some ways found that in a sort of stylistic way that I was sort of caught between these two different methods um I I mean what I also learnt from Julie was was that the craft side of the science as it were that how cameras work seeing she knows absolutely where everything is and and she's very strong like that um but but for both of us it was also it was of quite a dream time we shot the whole thing in Barcelona it was a beautiful summer and and lost brilliant Spanish actors I can harken about it but I loved savage grace even though the subject matter was pretty intense so I'll reserve the last question for myself then eh will you promise to come back and visit us on brought on Broadway stages again and B will you take care of yourself please for sure and for sure thank you I'm convinced this a post at one point that said the greatest actresses of our generation listed all those names you said and then in there was Hugh Dancy Patrick Wilson so they're just like yeah there's not enough to warrant actor you know it's and if anybody ever sees that poster and wants to get me the greatest gift of my life please just just pick it up and

Channel: BAFTA Guru

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Keywords: BAFTA, BAFTA Guru, British Academy Of Film And Television Arts (Award Presenting Organization), creative, career, film making, TV, gaming, actor, advice, Eddie Redmayne, Harry Potter, Fantastic Beasts and Where to Find Them

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Length: 38min 30sec (2310 seconds)

Published: Fri Jul 15 2016