Tom Hiddleston & Josie Rourke in Conversation - JW3 Speaker Series (2018.11.12)

[Music] i was thinking about where to begin this and i think about when i first heard of you and i think i first heard of you i was sharing a flat with a director called robert hastie who is the artistic director of sheffield theaters now and rob was training then as an actor at radha and i said to rob i was starting my career as a director come on who's good in rada like who do you think is great and he's going to be you know the the best actors from your year in the above and he said well there's this guy called tom hiddleston right and the thing about him is that he comes in before everybody else of the working day at rod and it's a pretty punishing drama school i think it's got you know it's it's a hard tough training mode we can talk about that and he comes in and he warms up properly and then he stays behind her for everybody else and is the last person to leave and not only is incredibly talented but he's incredibly hard-working and i was like wow he sounds really great we should definitely check them out but i i was i was wondering i think this there's a sort of um question i always have for actors which is what they take with them from their training and their practice into their life and i know that you were well you're an athlete weren't you as well i mean you are someone who is very physically that's very generous you're always running basically okay whenever i call you you're always running but but do you did you when you went to drama school do you think okay this is an athletic exercise as well as an intellectual one or what you know you know you'd already been to cambridge right yeah uh and what did you read there classics classics yeah so what made you think right what i want to do is go and do three years conservatoire training was it something you needed for your body your mind what was it well i'd always imagined and i and i hope i'm i hope i was correct um that that acting is a total is a it requires a total commitment of of head heart and body and the the art if it is one perhaps it's a craft but if there's an art to acting it's the it's inhabiting characters fully not so it begins with an act of empathy or understanding and then your body has to follow and so i'd always and the actors i'd always admired on stage and and on screen had always had a it's a great connection to their instinct um enormous emotional range and vulnerability but you could always feel that they were real there was something tangible about them physically and i knew i was 21 when i arrived and i knew that i'd had a this extraordinary and and very fortunate academic training at cambridge learning how to read learning how to think some extent uh to be rigorous and to investigate ideas to turn them over not to leave a stone unturned to keep investigating keep searching stay curious but the thing i didn't know i think i didn't have and i knew i needed was the discipline to [Music] for example play a big part like corey elena's or or any of those big shakespearean roles for the length of a 12-week run night after night and not physically break down because those parts require this extraordinary um physical commitment so and i thought you know i looked at radio and i thought well a couple of interesting people have been through those things all right doors you know they must know something um and so part in a way this sort of that's very funny of rob that he remembers the early starts in the late finish it just sounds like i've got terrible timekeeping just need to manage my time better uh but but part of that was about wanting to uh soak up the experience i knew it was a unique and privileged experience i was very lucky to get in and i wanted to make the best of it um what's the best bit i think it's it's been not just encouraged but but thrown out of of my comfort zone um doing things that i was afraid of doing things i had never done before um the training when i was a was total so it was a stanislavski based training learning learning the the the basics of the system as he called it um grounding a performance in some in naturalistic truth um which is all about detail really uh because we're trying to boil it down as an actor you're trying to represent and investigate human reality which is to say that the characters you play you want them to be three-dimensional you want them to feel real you want them to be vulnerable and flawed and courageous and they make mistakes and you just want that's the thing we share that's the thing that's why we go to the theater that's why we go to the cinema because we need to connect with each other and so you go and see a great film you go and see a great play and it leave we all leave with a shared understanding of something we know to be true about life whatever it is and and so the requirement of the actor is to be as honest and authentic and truthful as possible um and rather taught you that or how to do that i think there was a i remember an extraordinary emphasis on truthfulness um would they do that thing that they do where they go not true not gonna i've just worked with some actors who went through royal scottish and they said we were taught by russians and we'd do something they'd just go i don't believe you yeah yeah yeah they do that people still say that um i had a uh do you say that in your own hair well sometimes i do yeah i have a pretty uh pretty rough uh critic who sits on my shoulder and tells me it's not good enough um but there's a tremendous acting teacher who is still at radha um and i will give him a um a shout out his name is john biscuitza and he was my first teacher my first two terms at radha and he would never say it it would never be harsh it would never be personal or critical but you would do a scene or do an exercise and he would say i didn't believe it do you believe it and he gave no i didn't really um and and he might say it was very impressive and it was very skillful and it was very it was very courageous though you know you're doing a lot but i didn't it didn't feel real so let's think about why it didn't feel real why wasn't it honest maybe the truth of that moment is more mundane than you're making it you're making it bigger more theatrical more operatic than needs to be or maybe it's bigger and maybe you need to just investigate how that emotion that this character is going through feels in yourself and risk it and know that you'll be caught and you know but flash forward to the spring of 2015 filming the night manager in morocco and uh suzanna beer who i love uh dearly is not shy of saying after take i don't believe it do it again more real more true i met the other week she is ferocious yeah she made this great speech she's talking about women in film and she said uh she said what we need to be is more truthful like we need to tell a better truth about women's lives i've always found that an interesting uh paradox about acting is that by and large this commonly held belief is that actors are pretending that they're creating and whether we are in a way it's a that you're creating an illusion but the greatest compliment you can pay an actor is that their performance was truthful you believed it you recognized maybe you're watching actors go through i'm just trying to invent scenarios um [Music] familial struggle fathers and sons arguing a marital breakdown a relationship falling apart somebody grieving all these things that we all go through in life these are all scenarios we find ourselves in and you know you don't have yeah i don't have to tell you you know when you're watching something and you just it connects to you you think oh i know how that feels that character on stage i don't know that actor i don't never met them in my life but the thing they're representing the shape of of human nature that they're inhabiting is something i know is real that's what it's like to grieve that's what it's like to break up with someone that's what it's like to have a fight with your father or have a fight with your son and so this strange thing about um truth i suppose and john biscuitza the same acting teacher used to say acting is being truthful in imaginary circumstances yeah i often think it's actually the the um the bit of thing that needs making up in theater is often by the audience yes i've just i've just done this production of a shakespeare play with almost no set no props and i found myself saying to these actors there's a prison scene in it and you know it's the donmar so you can't fly on a prison people are on three sides from saying i am so sorry you are going to have to act an imaginary door yeah i mean like we're going to have to agree where the door is you're gonna have to come in through that gap while we've gone there's the door yes and i am now that person standing in a rehearsal room saying will you pretend there's a door there yeah and and actually everyone's fine with it totally yeah because and it feels kind of rubbish in a rehearsal room because it's hilarious and embarrassing but as soon as an audience there the 250 people in that auditorium are putting that door there yeah they believe in the door yeah yeah well i've it's become something that's sort of at the center of the way i that's the thing it's become a part of my instinct is you commit to the illusion of the imaginary circumstance and that's been true of everything i've done as you know i am not an ancient roman soldier in some respect but but when we did corey elena's like you have to commit to the illusion that i am and 14 chairs in a ladder yeah and you know i'm not climbing a ladder into the roof of the donmar i'm climbing a ladder into the walls of the city of coriolis this ancient borskian town i'm not on a back lot in a studio in albuquerque in new mexico surrounded by green screen i am hurtling through space and time in the bifrost on my way to see thor i actually think i i just i spent a movie for the first time and i actually think actors have to do more pretending more imagination yeah yeah in film than they do in theater well i suppose but it became a i mean people used to say to me when i first made the first thor film um in you know moments off off on the on the set where they're reorganizing the lights something say is this weird it's hard for you and i said it's just like being on stage and my i suppose my early experience after radha was was in the theater of constantly um fueling a tank of imagination and trying to be truthful within it whether it was being in othello at the donmar or or ivanov and forgetting for that moment that you're not in a theater in leicester square in london in 2008 you're in russia and you know the commitment is i'm in russia i'm a doctor i've got to look after ivanov's wife she's dying of tuberculosis ivanov isn't taking this seriously i need to go and tell him and then i go yeah and ken brano and i are having an ideological battle about why he's not looking after his dying wife yeah gina mckee playing anna betrovner is not dying ken browner and gina mckee are not married i'm certainly not a doctor uh but in that scenario you're you we all are committing to this game i suppose and it is a game in one way but it goes back to this thing that my acting teacher said john beschitzer being truthful in imaginary circumstances i i am and sometimes it you know it does make you laugh when people you're being so choiceful that people believe you um i was talking about the night manager again we were shooting uh the first episode and the sixth episode of that series concurrently because they're both they both take place in the in the story it's the nefertiti hotel in cairo in egypt and i spent a lot of time we shot in a real hotel in um marrakech we spent a lot i spent a lot of time behind the actual reception desk of this hotel this lovely hotel in marrakech and they were doing we were doing nights and we were doing a whole bunch of scenes where i'm organizing keys or checking reservations or doing lots of hotel managing paraphernalia do you think you could now do that like if it all fell away you're like you know what my career well what was so funny there was one there was what on that evening we were we were filming from 8 pm to 2 at 2 am or something and we were just doing all the stuff behind the desk and some guests at the hotel came back from dinner uh didn't see the cameras um and they said and they came and said yes um room 303 please and i said certainly sir so they believed me um the circumstances were not imaginary for them they were very real um but yes then and then in the same series you know there's a there's a sequence in episode five where um jonathan pine is demonstrating to some potential buyers um the kind of firepower of the weaponry that richard roper played by hugh laurie is selling and we're all sitting on the on on a crest of a hill and um in the distance in the in the in the neighboring valley there's an extraordinary display of um uh a firepower and on the night it within the night we were filming there were no that not no gun was fired there were no rockets there were no airplanes there were no drones we were staring into a dark deserted valley with one or two geckos in it um and the explosions were just lights on our faces and we were all having to make sure we were looking in this at the same part of the sky like so you see that star hugh al alpitri you see that star they want the red one let's pretend that's the the airplane and then when it gets to the plow we'll just all follow our eyes across to the plow and then there'll be an explosion everyone good with that okay let's go again being truthful in imaginary circumstances so um so yeah so the thing that i found really astonishing when i was shooting this film was the the amount of distraction that you have to zone out yeah and i think that's partly about kind of let me kick in my imagination but the thing that i found really surprising is it so in theater it's an obvious thing to say but everyone's there all the time yes so you turn up you warm up together you know i wanted to pop in and see the company at the dongwall yesterday i knew that it will be in the auditorium at 6 30 you know stretching their hamstrings and um warming up their voices and the thing that i found initially quite distressing about a film set is that you're distant from the actors and you're fragmented from them but then i got completely obsessed with a thing that i had never been able to see before really as a director and this felt very privileged this is kind of weird but you're never there the moment just before someone walks on stage so yes and they're like all parts of your process like i'm backstage you know i might pop back when you're kind of you know getting ready to go on and a half as we call it like those five minutes for the show starts going everything okay but but i had never seen that moment just before someone stepped from the wing onto the stage because i'm in the audience then or there's a there's a privacy to that actually yeah and the thing that i found really remarkable was for the first time getting to see actors just before they did a take like just within that moment when they had to clear their head and focus that thing and i thought it was tremendously hard in a film set because actually i'm very privileged because i'm looking at your i'm looking at the monitor you're looking at all the crap coming in the other direction yeah you know like just like and it's i don't mean like cameras and people i mean like they just go just chuck that bit of cable over there it'll be fine yeah you know it's not the kind of purity of an auditorium like this and it it seems to me that the ones who were very very very good at it i mean everyone's great in this movie but the ones who are amazing at it for them it was like a kind of moment of meditation you know there was a sort of it was almost like that the the closest thing this is going to sound a little pretentious but you know it's it's like a kind of moment of prayer or something it's got that kind of internal privacy to it and what i'm dying to ask an actor is before you go on camera and do your take is that the same feeling as before you go on stage and pretend is it the same thing or does it require a different i'm sure it is um i know so that's not meant to be mysterious it's i was just thinking about it um the interesting thing for me well it's a really lovely observation you've made actually josie because i i um the reason i still find acting fascinating is this is that i've demanded of myself and i also demand it i think of other actors and it's really a gift that's been passed to me by people who've inspired me is that we all i mean we i could we don't have time but we could go around this room and i could ask you to name a performance that you feel you've never forgotten and you found um almost unbearably moving it just spoke to you it seemed to explain yourself back to your own soul and i've had those moments periodically in my life watching other actors and i think it's the gift of that prep that preparatory moment i suppose is you're preparing to to give a part of yourself that's a very private part of yourself that is that is something really in the interior of your soul to give flesh and breath to this fictional person because it's the right part of you that fits him or her for that moment and um [Music] that's i think what i find so i still find it very humbling when i'm in the presence of great acting because the get it's such a generous thing i find the actors are lending their souls to this story to create an experience of meaning for all of us and that happens at the beginning that happens in theater and it happens in film that probably sounds really over [Laughter] that's actually similar to a point you're making it and what's interesting to me is that what you're what you're talking about really is what you give and the sense of gift and also the sense of discovery exactly and i think i think when people i think when people start because you know you're quite grown up now so am i when people start actually they don't they don't have that relationship to it you know when you see a young actor bounce into a rehearsal room it's not that they're not serious but but actually that there's this sort of a quality of life and surprise and where am i like i think it takes quite a long time to get rid of that and actually realize what what the transaction is yeah and and i think i think for me you're an interesting point which is about going look you can kind of pretty much do anything now i'm not saying there are parts that you you want that you don't get but you know if you like i'd quite like to do a one of these i'd quite do a king lear you know saying that like for you know you'd be allowed to do that like someone would let you do that maybe not yet maybe not yet well i don't like look it would it would book don't even know we're gonna do king lear yeah is everyone there next tuesday i think pretty much everyone would come like but there's some grey in this beard yeah so so i suppose the question that that part of for me the quality of maturing as an artist is is working out not just what bit of yourself you're giving but also what you're doing yeah like what the meaning attached to that thing is but i recognized it as a young person though i i i you know when i think when i was about 14 15 16 that was when i really got um you know i loved doing voices and and making people laugh when i was a child but i got taken to the national theatre a lot when i was in my teens and also i got exposed to a different sort of filmmaking different stories i remember and i've told the story before but i remember going to see richard ayers production of john gabriel balkman at the national theatre starring paul scofield in his last performance vanessa redgrave and eileen atkins this great towering uh scandinavian play about a family in pain and there were all sorts of things about my own experience and my own life that i didn't fully understand and i certainly didn't have the language to articulate but i felt it in poor schofield and i felt him articulate it on behalf of the entire littleton theater and that's when i understood the power of acting was i did i thought the theater was this sort of ceremonial thing where people did lots of air kissing and had a gin and tonic in the interval what was it your mom was in theater for a bit wasn't she yes she was yeah but i but i had never been sort of you know hit between the eyes like like that before and i realized that the the profundity of all these strangers arriving is sitting in a dark room and after two hours the lights come up and everybody is crying but none of us know each other because paul scofield has done something vital and honest and expressed something about being alive that we all understood and i thought wow that would be something to to do with my life if what if i could it may be a sort of an unrealizable dream at that point but then also in film jack nicholson in one flew over the cuckoo's nest um timothy spoiling secrets and lies uh that last scene i don't know how many of you seen it mike lee's film when he's so quiet all the way through and he's just containing everybody else's pain and and just it's sort of being he's absorbing it and managing and then he just says we're all in pain and and he kind of breaks and he expresses something honest about i don't know but and it was it's very powerful and profound um so even though i perhaps didn't understand how to articulate any of that or how to access it maybe myself i still understood what the what it was um so what i'm getting at i think a bit is what what now you are established and um celebrated how do you now make your choices like what is the responsibility you think you have to going it's that project not that project it's an interesting question i i feel it's almost i respond to material in a very instinctive way um because i'm still excited by the challenge of what the story or the piece of work or the writing represents um and i think the great privilege of being an actor is that you're often called upon to represent scenarios and behavior that you actually have no experience of and you have to then fill out what limited experience you have with your imagination with your research um and then expand and so it's almost like a kind of a spiritual journey of expansion i you know when we did correlanus together i think there were things in playing that part i'd never fully understood but i knew in order for shakespeare's play to really sing i had to dig quite deep and expand into it and then i finished the run of that production and i retained the expansion and that's that's the gift of the job for me as i've i've investigated something i didn't perhaps know before and i think that's extraordinarily true of that play because i'm most understanding but for me that's in as much as we know anything about shakespeare we know that that was toward the end of his career so that is an older man writing a younger man so i think that expansion that you articulate is partly connected to that that there are not necessarily um uh i'm not saying that correlanus is caius marshes is he's called thoughts are are immature but um there is a sort of playwright's eye on youth i think as he writes that character yeah you know someone looking at looking at a young man understanding something about a young man as an old man yes that's there the intransigence of it i think the obstinacy my experience of it is that just i think when he wrote it shakespeare must have been phenomenally cross yes yeah like just really cross it's trying to say someone who just spent their whole you know their whole career with people going do you know it'd be really good if we had one of those wouldn't a scene about that be great are you sure about that bit it's just like ah yeah yeah yeah yeah angry angry character um but that's what i love about it's worth having a little mention of shakespeare um because uh because i've in my experience there is no other writer um as an actor that demands so much and the the the privilege and challenge of performing shakespeare is having to align one's mind with his and his the profundity and breadth of his mind the things he was able to understand the sheer breadth of it requires you to to think about life in a very profound way and it doesn't have to be heavy you know his comedies can be and are hilarious yeah absolutely on comedy i don't know i haven't done it i don't know if i've done a professional production of this of a comedy what was your unprofessional shakespearean comedy uh have i even done an unprofessional one um much to do i've not yet done much to do no um [Music] i remember thinking when i was doing the hollow crown how there's comedy in that early part of henry iv yeah that's yeah that's haven't seen grintel falstaff yeah points mistress quickly all of that is it is a kind of show and that there has to be a levity to it they're very very funny those taverns yeah i think but like you know um the line between comedy and tragedy is very thin and so you're still investigating the same same things you're still investigating you know the truth of it i suppose um but the demand of shakespeare if you're going to do it well is that you have to have you have to try and hone the technicality of of delivering the verse and and the words and making sure they can be clearly heard and understood but also so there's an intellectual demand there um [Music] and to honor the poet a physical one to honor the character and then a kind of spiritual one to honor the profundity of some of the things that he's saying and i've every time i've done a big shakespearean part i've always found it incredibly um there's a there's a sort of how best to put this there's an extra dimension and clarity to my life at that time that somehow life has i've got this i'm carrying around i've sort of synchronized watches with shakespeare's mind and and the and the ask is that you go as deeply as you can into the things you're investigating with corey elena's the corrosive power of rage yeah the rage of that man the destruction that his rage um wreaks on his family his friends those he loves on the city of rome that actually this rage was once a useful thing that propelled him into war made him a war machine a fearless soldier and a hero but given full event it only destroys it doesn't build and having to even feel that in my in myself was a profound experience with hamlet the depth of his grief and then the conversion of his grief into grievance and how the the um the compression of his grief and the fact that his grief was somehow forbidden and curtailed is what um is what turns that mourning or that lack of mourning into grievance and it shows i think of all shakespeare's plays that the utility of retaliation and grief you know hamlet has all this grievance i must kill my avenge my father kill my uncle and he's angry with everybody he can't see the wood for the trees and it only brings him ruin but he was never allowed to let it go and to investigate that and of course hamlet is about so much more than that it's about the value of being alive and you have this young man who has lost his connection to the meaning of being alive and having to inhabit that what does it mean to feel that the argument for being has lost that there is a question of to be or not to be that maybe not to be is a better is a better idea of course no the answer is to be profoundly to be but to be on the side of life um to be to be to be but he's um he's at that moment where he's staring into the abyss going well maybe it's not so great life actually and to go to go down there and investigate what that feels like and gives that shape um of course i'm i'm even in trying to explain the experience of playing these parts i'm somehow reducing it or confining it they are they are they live on you know they live but that's the scary thing is that you go okay here's one of the greatest things ever written yeah we're gonna have a go yeah you know i mean that's that's the sort of the mindset you have to get yourself into to get into a rehearsal room with a shakespeare play like you feel the gift of it or the privilege of it but you you also know this is really really scary like you know and as a director you're like how do i make people not frightened of this well i wanted to ask you about that because i think i think on corey elena's in a way i say we were having to synchronize watches with that play and it's a very demanding play and you're responsible for i don't know how many people in here saw corey elena's or anybody watching it or in wherever they're watching it um they keep doing entity lives actually i've managed to buy a dinner service so if off the royalty if one comes up again do go because i need a few more side plates um but you know this play has to speak to um it because it's shakespeare it works on so many levels yes it's about the power of anger and pride in the in the figure of the leading character and family sons and mothers but it's also deeply about politics yeah and uh and how the state and the individual relate how we relate to to our selves as a polit as a body politic um the common people want to be heard they feel they're not being heard they feel they are being lied to and being mistreated by the senate these this patrician class yeah and and i remember and i remember but how do you take because you know you're having to do the same psychological work how do you take that on as you approach doing shakespeare doing magic for measure we're now playing at the donmar warehouse heidi hence vince um uh and um or much ado which you did with david tennant and catherine tate or or corey elena's how do you run up to to doing a shakespeare production um i so i have a bit like you i think a very obsessive method of preparation um because you turn up with it learned which is not what all actors do and not everybody likes to do that but i think i think that the way you work you're sort of making the folds in the paper aeroplane you know it has that kind of feeling to it i was thinking of it i got my dad a magnificent book on making paper airplanes for a birthday present it's brilliant go online and get it it's like a video and there's a guy it's great because i thought you just like fold it and do anything no you can do all sorts of amazings and i was thinking of you as i was looking at this book actually just thinking there's a kind of there's a care to the calibration of it and then you can let it fly and i think as a director the calibration is incredibly important so i'm quite nerdy with it so i spend a lot of time looking at the folio if that exists in the play where it was first printed comparing the punctuation of different editors because any punctuation that you read in a modern edition of a shakespeare play is an editor's choice because how punctuation works has changed and also it's not consistent so you know and as you know um in shakespeare actually in all theater breath is thought so where you breathe almost tells you everything you need to know about what the meaning and the weight of the line is because like great singers the amount of breath you take and the way you release it releases meaning and phrasing and all of those things so where the punctuation goes is really important and one of the things about this production measure of measure i've done which is sort of um kind of a bit mad but in a cool way is that we do the play twice yeah so you know and it's amazing because in the first half these actors are doing this rather perfect classical reading of the play you talk about naturalism before and then in the second iteration of the play they're playing it very naturalistically so you know the difference between one of them saying in the first half um someone's leaving in a hurry may we bring you something on the way and may we bring you something on the way like that just yeah like and they mean two completely different things and audiences laugh when they hear it a second time slightly differently so the sophistication of listening around it is really important so i did this big nerdy prep where i make sure that i know it backwards and then i cut it very very carefully i should be given some kind of large award i think for cutting probably 90 minutes from corey elena's yes yeah true really there's no that's like really that's what i deserve all the credit and more side plates for um is that work and it's because i you know i i've got great respect for people who do them uncut but i think you probably need to like take some stuff out of them so and that is part of the preparation as well and then you distill and distill so with our production of corioleonus it was working out how you did ancient rome the battle of cryoles all those things with 14 chairs in a ladder and that that has to be arrived at through distilling and distilling i think so getting to kind of pure essence of it so you're very confident because you need to be confident because actors are going where do i stand what does this mean i've never done a shakespeare play before not you but a lot of people or am i as good as the 18 000 people who played corey lanes before me you know also so you soak in but it's your responsibility to soak in a lot of anxiety yeah yeah to make that you might know that's your job for sure yeah but i remember there was a very specific note you gave me in previews or in running up to dress rehearsals and uh actually i think it was in the dress um just before the opening of a play i'm sure many of you know but you you just you run the thing through you just keep running it iron out the creases get used to the automatic hang on where's my prop and i need my sword which i've got lost got lost going to stage left you get all that out of the system but i remember in a in a after address we sort of stayed back up late and he said can i just say something and i said sure say whatever and he said i i really think you need to get angrier um and it was your perspective on the play like in order for the profundity of shakespeare's thought as as held and contained in the structure of that play to be truly brought alive i needed to commit more of myself to make it live and that's the director's responsibility is to be able to say to actors actually this is what i need you know we're instruments and you're essentially the conductor of the orchestra but yeah yeah i'm never sure about that i just think that's a bit i think there's a thing about the character of the director isn't there as a kind of megalomania quarter like one of my experiences of making a film but your responsibility is the story no yes but but it's it's also my responsibility to find out how you tick so to look into your craft and your essence and the friction between that and the part that you're playing and how that works with everyone else in the room what the chemistry of that is and bring a thing together that would be different if one person was different in one tiny part like i i i really believe in that i really believe it's about my attentiveness to the opportunity of what everybody has as much about going this is my vision of corey lena's because it can't be one-size-fits-all because then the work's no good you know i hate doing stuff i've transferred shows to broadway it was a disaster because i was doing it with different people and it was awful and i kind of couldn't get one thing out of my head and they thought you know it was bad like two different people yeah what are you doing yeah by the way the paper airplane thing is amazing i'm stealing it that's what it is it's what it is and on set the thing that you noticed about you know in a way before a take you're concentrating on one tiny fold and thinking what does this scene right now require from me yeah and i've had that i've had that where i thought you know whether it's playing loki or playing the night manager or or or playing prince hal or henry v or anything you know when you're filming um especially they're quite complex characters you might be in a moment where one of those characters actually applies to all of them is incredibly charming walks into roman is just blazing radiant energy vitality charm and you think i need to be in a place where i'm feeling quite playful now you know loki is about to play a trick or jonathan pine has to settle everybody down and you know um and then you think right i need to sort of get myself in a place where that's what i'm going to that's what i'm going to give in the scene or you have a thing where one of those characters is is isolated on their own very private having a breakdown and you think i need to just quietly fold that corner of the paper airplane and find the part of myself that will now have a breakdown on behalf of yeah okay that's great so i think and i think it's my job to be able to watch you carefully enough and understand what you're doing that i can tell what you're doing so so that you can get the room to do it and that's so true on film there's a bit uh there's a bit in this movie i've done where can i just stop for one second this movie which has been elliptically referred to all night is mary queen of scots uh sorry [Applause] record that on my phone so i can make that gap my text message alert that would be so good if we could just do that then that would be great i feel very lucky i've i've had an exclusive private screening of the finished cut it's absolutely breathtaking um january it's coming out yeah january here yeah sasha ronan jack lowden david tennant simon russell bill reads death warrant for me very lucky um great gemma chan is amazing and adrian lester yeah fantastic fantastic it's really it's i found it i found it emotionally overwhelming in a way i didn't expect but i was well it is and it's quite i was gonna say it's quite you know it's mary queen of scots so like not great stuff happens to her so there aren't spoilers it's actually a tagline but um but uh but and there aren't many jokes in it and there was a this is this is how i that's how i'm learning to be a film director okay and jack lowden who's a measure of measure as well at the moment uh there's a moment in the film he's playing lord darnley where he's hit in the head by a door and it's about the only decent solid laugh in the film yeah right not because we messed up other gags but because there aren't many laughs and it's very simple like character comes through door so you need like what three takes of that and i can see without me talking to jack and without jack talking to me i can see what jack is doing i can see that what jack is doing he's gradually edging himself toward the door so that when the other actor opens it it will hit him in the head and i can't ask jack lowden to be hit in the head with a door jack louden can't tell me that he's going to be hit in the head with a door otherwise the first assistant director will close it down because on the whole you're not meant to bank actors in the head with doors but i i know that he wants to do it so i'm there going my first is going you got it because we'd open the door now i need one more he goes like have you got it i go no i need one more you got it it's like eight take boom like that okay thank you very much that's in the can and jack's like high five yeah yeah yeah but it's that it's like understanding just quietly what's going on yeah i think i remember when jeremy iron slapped me across the face in the hollow crown trying not to prepare myself for it because i i knew it was coming our eye tom knew it was coming but prince hal has to be like unthink that but i knew it was going to work so it's like afterwards it's like i was great jeremy well done um anyway mary queen of scots january january in the uk yeah january in the uk uh i think december in america so yeah that's going to do all of that it's so touching it could only have been made by josie um and uh i really think so and it's it's you know i think we tell stories from the past to understand something about our present and that's why we always do these shakespeare plays that's why we keep remaking dickens and jane austen and other historical drama i think we keep trying to dig around him and trying to understand ourselves so why marry queen of scots why now and i won't spoil it but i do think there are some answers like why why do you tell that story now is the story of two very isolated women with a lot of responsibility on their shoulders political disharmony um uh warring factions meddling men um cost of power it's about the cost of power the cost of power uneasy that wears a crown shakespearean yeah um so i just wanted we'll try to open a sec i just want to talk to you about your life beyond acting really because we're here um well you asked me to come here because this is to support laughter yes it is for bafta i remember going to a dinner where everyone's like he's an ambassador that was great yeah see whenever anyone says ambassador it just makes me think um what does that mean didn't bring any with me sorry disappoint you um no no it's uh i'm very very lucky and i feel very honored that bafta have asked me to to somehow represent them in this capacity and really it's about something i care very much about um which i now go back to do i work with radha as well in a similar way both charities which i think is less well-known and it's about equality of opportunity and representation and bafta have been extraordinary in uh trying to keep the doors open for everyone so that a career in the arts whatever it is you're doing whether you're making films making television games designing games you're a storyboard artist you're a scenic painter you're a carpenter you're a whatever whatever your job is stage manager actor director screenwriter that you feel that we all feel that we are represented in our creative industries and it's a cause i feel very strongly about that that who you are and where you're from should not be a barrier to what you have to give um because otherwise our whole society will be immeasurably impoverished so we just and ba and so that's what this is tonight and and um so huge thanks to bafta for asking me to speak on their behalf i think they did a thing when we were in pre-production for for mary queen of scots where they changed the eligibility for bafta awards which meant that if there wasn't proper representation yeah within the film that you were not eligible and you know it made a tremendous difference like people in the pre-production period really notice that yeah no you don't have to compel people to do it but at the same time that's a you know that's a serious and a proper move yeah well i i just think that you know our culture is so rich and deep and broad and diverse and we need to hear voices from every quarter yeah there are you know there are as many stories as there are people on this planet and so and that's what the arts are is we're all just telling stories to each other to understand each other and so we need to hear from everyone and and to make sure those of us who are lucky enough that there are no doors which are closed it doesn't matter you know what life you've had that you there's a place for your story when i went to see your hamlet in which lolita chakravarti played gertrude and lolita is married to adrian lester who is in mary queen of scotland playing the english ambassador to scotland and lolita told me this and actually adrian did not say this to me until a couple of weeks ago that adrian lester who was peter brooks hamlet yeah and you know an amazing rosaline actually for declan who knew and as you liked it years ago and that great fellow had never played in a period drama on screen like that extraordinary career and he's never been in a costume drama i mean you know it's just it's completely nuts so it's great work okay by the way that's why hamlet was not seen by that many people um so so we did the production to raise money for radar for the same for the same reason um but you know you never know never know there you go you heard it here and shall we see if there are some questions and you've not been completely exhausted by goodness i hope you've made some sense mercy me who's picking hello i think do you want to pick or should i pick you pick okay you pick um there is okay so there's a lady there and a nice gold top in between these two ladies with their hands up yes you're going to stand that's good we encourage that we have mine oh there's a microphone hi tom good morning and first of all i would like to thank for the opportunity to come here and second of all i want to ask you because i've read the night manager from john mccarran yeah and i've seen the series as well and i have to say that i really liked i thought it was a shame because the sophie character in the book was so much bet like it was a more three-dimensional character than it was portrayed on the series so i was just wondering for yourself as an actor i don't know if you read the book or not yes it is so i don't know you know that prep thing we were talking about like takes that really seriously that'd be like a prevalent with one wing i used to sometimes read the book to the crew all right i didn't appreciate it you're like come on we got to get this done before the sun goes down story time later no so i just wanted to ask you don't you think that it was a shame that the character sophie character wasn't that well developed on the series because i think like at least from myself as a viewer of the series i thought that at the series it felt like she was more of a thing a fling to jonathan rather in the book it felt like he was very much in love with her so it makes sense like that kind of feeling he had towards roper so i was just wondering what was your opinion on that i i feel very much the same as you do in in in the respect that i do think jonathan pine was in love with sophie and and i think the loss of sophie is is very traumatic for him um [Music] you know it's it's in a way if you felt it wasn't proper the properly honored in the um in the adaptation that's that the fault is ours but we had the tricky thing without adapting a a novel to screen is that there's all there's with any novel a great deal of interiority is permitted by the author to the reader um le carre invites the reader inside jonathan pine's heart and mind and we had very clear we had a very clear time structure and i think sophie is really she's in a way the leading character of episode one but at the same time you need to meet richard roper and but i i i tried to convey that there's a scene where jonathan pine comes across uh sophie's dead body and it is a he he has a breakdown he has a it's very traumatic for him and through that was was i was trying to convey the depth of his loss and then it's also something if you look again that olivia coleman's character touches on um she keeps mentioning sophie to remind pine of of a reason for his commitment okay thank you okay so um there's a lady stripey top in the corner there that's great thank you hello this question for both of you about corey elena's um and it seems to me that the mother has an awful lot to answer for she's really not great she's a real philip larkin kind of mum and um i just like your views about um about my mother but it just came across so well in in in the playing for lumia and then and then that relationship and just what it was like actually doing that on stage uh first thing to say is i was just the luckiest man in the world to have deborah finley play that part um yeah she was she is just the kindest woman with with an incredible a really genuine depth of range within her as an actress and um we talked a lot about it i i think there's a i think one of the flaws of the character of marshes is that he has not developed for whatever reason the flexibility uh and it's it's a it's a fault of his mind it's a mental failing um a failure of emotional intelligence to [Music] to yield that his mother has has he's taken his cue from nurture as it were there's a singular couplet i can remember in that central scene in act 3 i think it is where he retaliates to her and says would you have me false to my nature rather say i play the man i am and my interpretation was that marshes is doing everything she told him to do she brought him up as a to have no fear of death she brought him up to be enormously courageous fearless dedicated committed um this war machine and suddenly she's saying well now what you have to do is to be a politician you have to do things you don't like and you have to say things you don't mean and his response is that goes against everything you've taught me that goes against my integrity my honor um and she says well you know times change and things change and and she's and it's his failure of flexibility in a way it's his obstinacy there's something quite childlike about that obstinacy and they never fully get over that until the final scene where her plea and her entreaty to to beg him from not to sack the city of rome is what makes him yield uh manenius in our production play by mark gatos says he has changed from man to dragon and this dragon weeps so it is no little thing to make my nice to sweat compassion the tragedy of coiliness is enshrined because this man who has never displayed any vulnerability in that moment learns how to be vulnerable and for that he is executed yeah i think that's that's a beautiful beautiful answer and i mean i think that just i just got a great flashback to that scene then which anybody can watch on nc live for side plates um which is um that reduction so so she pivots which is something she's not meant to do as this great roman mother and then actually the last thing she says is i'm done with you like i'm not almost like you know when toddlers are absolutely losing it and the last thing like your last resorts to go i'm not looking at you yes you know it has that kind of quality to it i think it's an amazing piece of writing and i think that you know there's it it is a play about rage and there's not a lot of love in any romantic sense within the play but what there is is extraordinary for me portrait of unanswerable need like they have an unanswerable i don't mean an incestuous way but they have an unanswerable need for each other as two people that they've never spoken about really in any detail he wants to make her proud yeah and he goes about it in the wrong way i think we all want to make our parents proud certainly do okay uh let's back so we go to the back the back is up at the back yes that's that there's a gentleman up at the back there yep up at the back on the right great i was just interested um what it was like to film at the fort alexa which was one of the locations yesterday why is it a loaded question well i just had my 40th birthday party uh it's a question about a place called la fortaleza in majorca which was the lo the location for palatial layer in the night manager um yeah you know it's an amazing amazing spot [Music] um well so i was doing my homework the day before and um we had been filming in other parts of majorca uh it was principally we were we've been filming in morocco and then the last three weeks of the shoot were in majorca it was already june it was very hot and i just remember being incredibly hot um up on that hill and uh on the sunday i wanted to see where this location was um and it's across the bay from this is just a geography lesson now it's across the bay from poensa and it was a sunday afternoon and the families on the beach people eating ice cream going for walks windsurfing and i caught this guy at the end of giving a windsurfing lesson and i said um i said in my broken spanish do you happen to know uh where la fortaleza is and he went he did a sort of extraordinary movie double take he sort of did this he went la fortaleza and i and i said well i said well you know just you know you know it isn't any sort of he again the drama of it was so great because he was in a wetsuit and a windsurfer you know looking so macho and he sort of swept his wet hair back and pointed [Laughter] ai and i said wow you know it looks very impressive and it sort of came into focus through the trees and and uh i said have you been have you been to puerto rita no [Laughter] no no no anyway it's a very imp i suppose ridiculous stories the excuse to me to be dramatic but um absolutely blissful but uh yeah and it was it was great and it was a it's uh um it's an amazing location for that part of the story and i just remember my memory of it is constantly running around because that's when pine does a lot of his spy work um and uh trying to find the right staircases and locations to do those bits um under the uh under the summer sun not too shabby that was probably the best dancer you could have anticipated so let's let's go back again so there's a i think the mic still up there is this is a lady in a white shirt towards the center there at the back hello i'm just going to say i genuinely can't wait for a merry christmas oh thank you you sound you might you might be a bit scottish i am yeah or a lot of scottish i'm sorry yeah and so i can't wait and my question was with tom and when you're playing a character it's a really actory kind of question i do [Music] find the body apologize physical body and do you apply them both like how do you basically i'm struggling to find a physical body of a character so do you use animals do you lose ab lab and effort how how is it that you i have done that's worth saying and can you explain what animals and larbin are to the group um yes so yes i did i did animal study at radha where you you're so you it's an exercise in trying to use your body to express some essence that if maybe that if you're if as you might be but but but if as an actor you're a bit stuck about a character you can think well what kind of animal is this person what was your animal at radha because you pick one don't you i i wanted to be a giraffe but i was not allowed to be a giraffe because the movement director said but tom you already are a giraffe um rob hasik rob hasty who was speaking was was an otter yeah i used to come downstairs and she had a flat of like a tuesday morning and find him just in his pants in front of an auto video yeah no there's um i was in a the same year as andrea rysbrook and her she did a hyena it was unforgettable i could see even now it was literally like a haina was in the room uh i i i don't know why i did this i was at the london zoo trying to find inspiration and i decided i was going to be a black mamba snake incredibly difficult um invertebrate something with legs yeah but it came it weirdly became about the scent that that the tongue that he's the tongue is a sort of thing that he's trying to it's like almost like a kind of like a a lust or a an appetite that's expressed by by the snake's tongue i'd never applied it i don't think in any character but but um and laban laven is a a language and a vocabulary and a methodology about about finding a way into a fictional human being just using uh verbs active verbs floating gliding do people glide across do people glide down the street or do they stomp or do they do they have a stomp with an inner float or do they have a this is a way of of of trying to give physical life to somebody else that is not you to really answer your question i think i think i try that it's something it's neither it's not quite so um deconstructed i suppose for me like but it's cert it's something about the soul of the human and if i study the soul in some way and where my where i connect to that character at a deep level it will reveal how they move and how they speak um i knew as corey elena's that this was a decorated roman warrior a soldier and a warrior somebody whose body was hardened by the practice of warfare and so i saw and so i did a lot of extra physical work just to give myself that sense of feeling fitter feeling stronger feeling more like i could climb that ladder or um do a backflip over hadley for you know it was about sort of about a kind of muscularity that that character needed his character it's in the always in the words character was constantly talking about his body talking about the blood he shed talking about the scars he bore and this is someone who's clearly very physical person um and uh i'm trying to give other characters i suppose i i'm you know the elegance of the night the elegance of jonathan pine was something from the novel that that this night manager was had this perfectly inoffensive exterior that he was gentle enough that he could proceed into a wall and that if needed if he needed to come out and pacify you know if the wedding was still going on in the in the ballroom but he needed to pacify the guests in the first floor who were complaining about the music to keep both people happy that everything was easy everything was loose everything was graceful there was no stress no worry no so there was a buried tension that was didn't manifest in the body um i'm uh and you said you're having a problem finding a character [Music] [Laughter] [Applause] never played heavenly um i suppose it just go it'll be there somewhere go go back and go back to the play and see if you can find something in it that you can connect to at a very personal no one has to know what the personal thing is that you connect to um and then see how that informs just the way you walk the way you enter the space i also think there's a lot of um vivid on a williams play not for a long time i did i did one when i was at cambridge i did a streetcar named desire yeah yeah stella stella and uh i think i think i think it's one of those plays it's a bit it's a bit like that's what's so great ivanov it's a bit like a check off play people think there's a way to do it in their body i mean there's a sort of tropes around the acting of it yeah that can be really really unhelpful because because you go okay so tennessee williams play therefore everything i do needs a kind of langer or kind of drawl or i'm drunk or it's hot or it's you know so a bit like bad check off is when people are choosing what i would call too many points of concentration you know i'm going to think too hard about moscow or the samovar or anything like in a way i think what tom saying is something small yeah and it might be a previous circumstance i remember very clearly and i i was in the production of othello at the donmar in 2007 uh directed by michael grandage and uh i played cassio michael cassio who is promoted to lieutenant and iago is marginalized he begins the drama um and the beginning the first scene of that play is iago and roderigo and then and then at some point and then it's brabantio is woken up but at some point cassio comes in and he's been looking all night for othello that he comes in with news and he's clearly been awake and active for a long time rushing around venice trying to find people and get them together and i remember in backstage at the donmar during the first scene of the play running up and down the fire escape stairs because i wanted to come in a bit out of breath because i thought cassio was so desperate to find where everybody is he can't find anyone and he comes in and he's a bit like thank god you're all here you know i've got some news and it was a springboard that's that's a fold of the paper airplane for me and i didn't want to have to pretend to be out of breath i wanted to actually be out of breath so that i had this i had a very very drama center if you know what i mean sort of method base out to do that in a play once it was in a war drama and he came on and he did what you did which is those three breaths and everyone was waiting for the news and then he did a fourth and everybody on stage laughed because they knew that he'd run around so much that he actually was so out of breath he wasn't going to be able to get the line out and like 12 axes was just rolling around but then the fun thing about it for me was um was actually not worrying about the breathlessness because i genuinely was out of breath and it was just trying to get the words out and again no you're good this was a tour so that we were like in a different theater and he just miscalculated him it goes back to the truthfulness in imaginary circumstances to some extent um good luck let's you'll get there let's take just a couple more i think we've probably got time for it so how long do we have can we martha allen one or two more very good so can we round it up to three let's go three we'll jump quicker okay so uh there's a lady on the end of the row here in a blue shirt let's do that um i just wanted to ask because um i study acting so i just wanted to know because i'm very interested about um basically how actors and directors are when it comes to certain practitioners so just wondering like um what do you feel in your careers that certain practitioners have had some sort of influence on you so i just wanted to know how and just um any advice on who to do research on in the future so practitioners to like to read their stuff or influence you or uh just to influence can i ask you thinking people who are contemporary practitioners now or really traditional in the canon of of the craft of acting training yeah i mean i think they're all worth studying because they all have something to give um i'm you know stannis sort of true brechtian acting is you know trying to honor brecht is very different from trying to honor stanislavski brecht was a very political writer he wanted uh he didn't in his writings it seems bertolt breck didn't want the audience to feel too much empathy for the characters because the characters were objects in his mind that he wanted to demonstrate something with narratively and politically um [Music] particularly i don't think he wants you to feel anything for arturo ue he just wants you to watch the the the sort of chart this man's journey um then there's there's other sorts of stuff there's um [Music] slightly more there's less naturalistic things that have come out of the european tradition i think it's really healthy to study european practitioners and and um i remember i remember studying otto and his uh spell the group a r t a u d because that's you know if you're gonna google it yeah there we go yeah yeah his first name was antonin yeah and uh but that but he's he he was he imagined a different kind of theatrical experience um one that was immersive and sensory um uh you know so so that naturalism isn't there isn't the end-all be-all it isn't necessarily the thing that you'll always need to draw the draw upon um because sometimes your a director might just want to use your body as a as another piece of a jigsaw puzzle of a great picture that he's trying to make on the stage and that's when you just submit to your you become part of the mechanics of something and that's always really thrilling uh when that happens so i'm trying to think i also contemplate i think simon mcburney is a genius um so so so have a read of of uh complicity and some of the work they've done um i think clowning is fantastic i wish i'd done a proper french kind of clowning class um because that's true imagination um i think traditionally you really only have your body as an instrument there is no set there are no props you just have you know mime and all that sort of stuff so um when i was doing my lambda exams i was mainly standing uh mainly looking at um samostovsky so i just kind of wanted to expand my interest and look at further just to see if there's any more people that could just show me further and give me more of the ways to view it and give me more of like an further interest this is really practical um because that's a great list just like go down the national theatre bookshop and look at the acting section and like you know it doesn't matter if you read something that you think is nonsense at least you will have dismissed it yeah um i think and the other thing i would say is that often they get a bit divided those sections between acting and play writing and there's some brilliant books on like you know 100 great plays for women or you know here's the tradition of um modernism in drama and that kind of thing and actually that can be as exciting and as stimulating and send you on as good a journey as a kind of acting textbook can i would say that's helpful yeah can you pick a question uh i've gone straight i've just seen you go go yeah there you go i've just been instinctive about it hi um so first of all tom i want to thank you so much because you've inspired me to write my first novel and i'll be forever grateful for that thank you so much and my question is you've played so many characters over the last couple of years so i was wondering if any of them some of them regardless of how many times you've played them have made a lasting impact on you as an actor in terms of their character traits their surroundings ideals and morals great question um immediately what comes to mind is is the the big shakespeare ones to be honest because they've i feel like they've demanded a huge amount from me and i've had a very fulfilling time playing them and in a funny way the great shakespearean parts they're all related to each other and and having played some of them they talk to each other and echo each other in different ways sometimes henry v something quite hamletian about him he's isolated and he feels the weight of his his uh there is no outlet for his solitude or loneliness um and henry v and corey elena's talk to each other they're both war heroes they both have to do something very dangerous alone um [Music] uh so i would say certainly the shakespearean characters and then and then loki has had a massive impact on my life it just you know i gotta i can't ignore it um he uh he has been quite i mean looking at me now there is no way in hell you'd cast me as that character this you know ginger scottish english um guy you know i play i'm playing the norse god of chaos and um it's a surprise to me as much as it is to anyone else and and and and the fun i've been able to have with him um and how i've expanded that or been able to touch on something very ancient you know loki's been around in the collective unconscious for two thousand three thousand years there's something about human beings that they need these characters these tricksters to imagine dionysus was that was was that was the greek equivalent in a way um and uh and loki is is up there um and the mischief in him this eternal trickster uh that represents unpredictability and chaos but our lives as human beings are governed by order and chaos and we need a little bit of both and that loki somehow represents the chaos that sometimes we need um i feel really lucky that i got to play him great thank you god pick the last question oh it's very difficult this to pick somebody sorry everybody um [Music] like you have to do it i can't i think i'm good okay oh my goodness i just feel responsible no very sponsored okay there's i'm just going to pick uh there's a lady here in a blue top just on that yeah second let's just ask hi um from a screenwriting perspective actors always talk about uh how they they pick parts that not so much resonate but it's something inside them that says this is who part of who they are maybe yeah resonance so do you pick roles on the basis of the fact that they resonate with you in some way or is the truth of the role more important and you want to pick something that isn't something familiar to you so that it stretches you you're known for how much research you do so um something like robert lang yes i mean that must be totally different to anybody's life so do you do you pick roles that push you or roles that are more familiar do you pick things that actually sort of stretch you because you see them as being something that will stretch you i think it's i think it's probably both the great question uh which is that i try i try to pick roles which will stretch me perhaps into territory i might be afraid of but that within which i can recognize a kernel of familiarity that there is something in there i can relate to um [Music] uh and a truth yeah so with with um you always try to find that first i don't i don't think it's an issue about i don't think it's an intellectual exercise it's a very instinctive thing reading something you find yourself moved by it excited by it makes you laugh you recognize something in the writing um uh and then you recognize all the bits that that are you can quite clearly see the bits that are that are out of your experience um i've never been a soldier i've played many soldiers uh i have played many sons i am a son i know what it's like to be a son um i um and then i so i think it's trying to find the parts of yourself that marry the marry up now with with loki for example in the very first thor film he his his emotional pain and his isolation is caused by the trauma of learning that he was adopted i wasn't adopted but it was about extending myself into that imagined circumstance of what that might feel like to be told very late that but in loki's situation it's particularly um traumatic because he's he finds out he's the son of his father's mortal sworn enemy um with robert lang in high rise i um i could it was a very interesting detail in ballard's writing that he moved into the building to get to get away from grief um [Music] and i think in the novel it's a divorce he's just recently got divorced again i've never been married i'd never been divorced but but the idea of moving in moving away from pain and actually finding yourself in another very difficult situation and i thought the ex with highriser found the what he was trying to say through that story which was part of his own experience if you know anything about ballard's life his childhood was very complex and he was exposed to extraordinary brutality at a very young age so perhaps he was supposing that behind our civilized manners is something much wilder and and uh and and less controlled and that what he does with the inhabitants of the hieraris is he pushes them into extremity to test them and see where they end up and i was excited by that thought experiment that if the building is a diseased body with royal at the head the architect and and the wilder is the sort of guts and lang is somewhere in the middle he's sort of caught between the head and the guts and it's you know he's a physiologist a doctor a head doctor somebody who tries to determine why people's brains don't work and he can't work out why the brain of this building doesn't work he just gets consumed in it so so that's a those are two specifics but um there has to be a resonance i think with a role i think so it's trying to to acknowledge that i will have to excavate some part of my own experience and give it shape that it might become an experience of meaning for the audience thank you very much thank you tom [Music] [Applause] hiddleston you

Channel: Zsuzsanna Uhlik

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Id: YMUYACKLHKQ

Length: 84min 4sec (5044 seconds)

Published: Fri Apr 23 2021