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It's just an unbelievable
story of survival.
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How far do you go to survive?
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Jealousy, honour, love, betrayal.
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It's violent, it's sexy.
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It makes you think on every page.
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There's not a drop of waste.
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It was a harsh life.
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People were starving,
people were hungry.
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How did they not all just drop dead?
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This was empire-building.
This is British history.
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It is a universal story
of what it is to be human.
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I will be very surprised
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if anything comes near it ever again.
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I think for Jimmy,
he's left his comfort zone
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of contemporary, urban,
largely Northern,
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largely working-class narratives
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and he's expanded himself into
this epic historical narrative.
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In everything I do,
I'll always have people
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who know what the right thing to do is
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but it's too expensive
to do it, you know.
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If I do the right thing,
it might cost me my life.
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If I do the right thing,
it might cost me my woman.
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If I do the right thing,
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it might cost me a flogging, you know.
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The price of doing
the right thing, you know.
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But all of his great themes
of love, faith,
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religion, you know,
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law, justice
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and morality is played out
on this epic scale
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in this confined community,
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where the stakes are literally
life and death
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for everybody involved,
every single character involved.
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If you're a woman and you
have nothing except your body,
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how far do you go to survive? You know.
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If you're a man
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and a much bigger, stronger man
is stealing your food
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and you are starving to death
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and nobody lifts a finger to help you
because it's every man for himself,
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you know, at that time,
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what do you do, you know?
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It's, I think, every...
Every story has survival at its heart.
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Full of love.
You know, the stories are full of...
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It's full of love stories
all over the place.
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But at its heart, it's survival.
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I think the reason that
Jimmy's work translates
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universally
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is that
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he is speaking about
the human condition.
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And the human condition is universal.
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It's not about where you're from
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or what strata of society
or what ethnic background
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or cultural background.
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He's talking about the human condition
and that's an ancient...
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That's an ancient
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predicament that we all carry
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and we're always trying to solve
in all cultures.
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I have been a fan of Jimmy McGovern
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and his writing for a long time.
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You know, The Lakes,The Street, Accused.
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It's just...
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They're real people,
he writes real people.
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And in particular,
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I think, from a very
selfish point of view,
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he writes women beautifully.
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The characters
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have a universality to them.
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Jimmy McGovern writes these
great female characters, he does.
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He seems to be able to speak
as women in a way that is...
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It is notable
for a male writer to be able do.
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He seems to be able to be inside
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the mind and heart of a woman
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and know what's going on there.
Ripped By mstoll
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And interestingly enough,
we cast Orla Brady,
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who's Irish,
and Orla Brady's first instincts were...
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Dublin, she comes from Dublin.
The city centre of Dublin.
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And a few weeks passed
and she said "I can't..."
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She couldn't find her in Dublin.
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She says she needs the sea,
she needs the sea.
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And I said, I know,
'cause I found it in Pembrokeshire,
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with the waves crashing
in on the Welsh coast.
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So now she plays it
as a woman from Donegal.
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I think Anne is a character
who is apart from the others.
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Partly because of her belief system
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being quite different from the belief
system of most of the people there.
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She is not Christian,
except in a token way,
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whereas Christianity was a given.
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People would be Christian
in the same way that
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we think of ourselves as,
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you know, as law-abiding, nowadays.
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You would absolutely believe
in a concept of...
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of God and of...
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of hell, of heaven, of those things.
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Anne has a different belief system,
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which I think she feels she has to hide
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from others and I think
that sets her apart.
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Is she theological, philosophical?
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Or is she just a con merchant? You know.
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It's a fascinating story, hers.
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So... But I found that aspect
of her character first
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and then realised what the story was.
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Is she exploiting people?
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This spirituality she has,
is it used to exploit people?
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Or is it actually used to help people?
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As much as this is a story
about the starting of a nation and...
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and, you know,
a penal colony in Australia,
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it's about much more than that.
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It's about the characters within that
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and it's a character,
very much a character piece
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and a character-driven drama.
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And in that regard it,
you know, you can associate with it,
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it doesn't... It could be
placed anywhere in the world.
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What, as an audience
who's interested in drama,
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what you're interested in
is these people
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and the way they
communicate with each other.
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It's about power battles,
it's about hierarchy,
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it's about politics,
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it's about human interaction,
it's about love,
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it's about sacrifice, you know.
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It's got all of these themes within it
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that don't necessarily have to,
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have to be about where it takes place,
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it's about what takes place within it.
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We're all in a tiny community.
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We're all close to starvation.
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We're all living under military rule.
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So it's McGovern
with even higher stakes.
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Nothing about my job
could really be called arduous,
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that would be a grotesque
distortion of the truth.
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But within the ridiculously
spoiled world that I live in,
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sometimes it's quite tiring
pretending to be tired all day.
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That's about as far as I can go.
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But if that's my biggest problem, then
I'm not really going to say any more.
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What's lovely is when jobs
like this come and you're not some
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young actor who may not...
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Who may think, "Oh, this
is great but I'm...
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"I know there's more,
I know there's better."
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I'm appreciating this like this is,
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you know, this is manna from heaven.
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And it means the world to me
on so many levels,
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just to be in this kind of...
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To be accepted as a peer
to this company of actors.
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And this writing, that they go,
"Yeah, you are good enough
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"at working your job
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"to not ruin this script."
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When I read Jimmy's scripts,
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I hadn't read anything better, really.
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And I was so... I just devoured them,
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which is unusual for me.
Usually I'm like, "Oh, next one..."
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But no, it was just one after the next
after the next.
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It was, yeah, intoxicating.
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His script is not naturalistic,
it's poetic.
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It has cadences and rhythms that repeat.
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And he made a very deliberate choice
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to remove apostrophes from dialogue.
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I would not, I could not,
I should not, I shall not,
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rather than I wouldn't,
I couldn't, I shouldn't, I shan't.
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And what it's allowed him to do
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is to build these rhythms
into the narrative.
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And at times they're rushing
and they're pacing.
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And at other times they're just held.
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And there are moments of great pauses
and breaths,
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which Jimmy's been brave enough
to allow into this.
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I think the thing I found early doors
was the kind of language,
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you know, erm...
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There's quite a formal
language being used,
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even by the convicts,
who were very badly educated.
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A lot of them weren't
educated at all, in fact.
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Most of them can't read, you know.
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But there's a formal language spoken.
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I think I found a language
which has helped me enormously.
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We work, Jimmy, Roxy and I, RSJ Films,
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work in a most collaborative way.
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There is no... Everyone contributes.
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Of course, Jimmy is
the writing genius behind the idea
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but Roxy and I contribute to that,
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to the development
of the characters in the scripts.
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And we wanted two directors
who would also collaborate,
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so there was no distinction between
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first or second director.
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And it was part of our choice
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in who we got to direct this
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was based on the question from me
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to each of them, "Are you
good at collaborating?"
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One of the joys of me
working with Jeffrey is
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we've been able to collaborate
from very early days.
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So he came on board
very early on in the process.
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And even on that first
scouting trip we did in Australia,
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Jeffrey came on board then and we were
able to spend a lot of time together,
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discussing, talking about the how-to
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and the visual continuity of the show.
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See, I really view it as
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it's a British story
and it's about British class
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and it's, erm...
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And also, you know, British society.
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It's a microcosm of what
that British society was at that time
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moved to this expansive,
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opposite side of the world
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that may as well have been,
you know, Mars to them.
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And so when I sort of realised
that it's not so much
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the forming of an... It's not
the story of the forming of Australia,
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it's the story what's kind of come
before they get them there
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and what the decisions that
they make in the course of this series
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at the end of it really
set off what Australia becomes.
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You know, this story is so
significant to both our histories
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and shamefully, actually, in Britain,
you know, we don't know
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a great deal about this first fleet.
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Whereas for Australia, it really was
the founding of their nation.
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And Governor Phillip is an incredibly
important character
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in Australia's history.
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Phillip's role in this particular
series, for me,
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I see him as having the moral dilemmas
of the piece
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and he has to decide in this new land
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whether the rules of England
actually do work
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in this frontier land
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or whether it's better for him
to change some of those rules,
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to actually start a society
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with rules that are
a little bit more flexible.
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So in order for the bigger picture,
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sometimes he has to make some pretty...
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pretty heavy sacrifices
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and big decisions
in order to go for the big picture.
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He likes to think
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there is good in everybody,
even the convicts, you know.
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And he'll harness that good
at this birth of a nation.
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I mean, they were totally
ignorant of, in the early days,
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of the aboriginal people, you know.
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One of the oldest peoples
of the world, you know.
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I'd describe Phillip
as a modern man, really.
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I think he was way ahead of his time in,
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in lots of ways.
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His thinking was very egalitarian.
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He wanted to start a society here
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that was based on a form of equality.
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His thinking about
the indigenous population
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was way ahead of its time. And in fact,
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way ahead of a lot
of people's thinking even now.
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They haven't met
the aboriginal people yet.
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And I didn't want to go there
because I know...
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I know how important it is
to get that kind of stuff right.
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Because I did two drama series
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with aboriginal people.
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And quite rightly,
portraying them correctly
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is important to them and to us.
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We are filming
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on the ground that belongs
to the indigenous people.
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However, what we didn't want
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was to have the indigenous people
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featuring as background artists,
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as tokenism.
249
00:11:59,760 --> 00:12:02,877
Maybe I could have
given them 10 minutes per episode.
250
00:12:02,960 --> 00:12:04,996
But that would be an insult.
251
00:12:05,080 --> 00:12:08,277
A lot of it is fact
but the stories are fiction.
252
00:12:08,360 --> 00:12:11,079
But the people are factual,
a lot of the people are factual.
253
00:12:11,160 --> 00:12:13,879
You know, we keep the real names.
254
00:12:15,720 --> 00:12:17,597
And there was hunger there.
255
00:12:17,680 --> 00:12:19,750
You know, they were waiting for a ship.
256
00:12:19,840 --> 00:12:22,877
They did get the first hangman
in this way.
257
00:12:24,280 --> 00:12:27,317
Johnson, the Reverend Johnson
wants to build a church,
258
00:12:27,400 --> 00:12:29,038
and he fell out with the Governor.
259
00:12:29,120 --> 00:12:31,759
The Governor was constantly
at war with Major Ross.
260
00:12:31,840 --> 00:12:33,831
All those things are
well established in early,
261
00:12:33,920 --> 00:12:36,150
early white Australian history.
262
00:12:36,240 --> 00:12:38,071
Do you know, it was the most
valuable, valuable thing
263
00:12:38,160 --> 00:12:42,119
for us as cast members to be
in the place where this happened.
264
00:12:42,680 --> 00:12:45,194
I know that there
were other places in the world
265
00:12:45,280 --> 00:12:47,350
where one could have filmed
266
00:12:47,440 --> 00:12:50,398
and could have made it
look like early Sydney.
267
00:12:50,480 --> 00:12:52,471
But for us,
268
00:12:53,240 --> 00:12:55,356
the experience of arriving here
and seeing,
269
00:12:55,440 --> 00:12:57,510
because there is so much nature around,
270
00:12:57,600 --> 00:13:00,398
still around Sydney, and to see what
271
00:13:00,480 --> 00:13:02,710
the place would have looked like
when they arrived,
272
00:13:02,800 --> 00:13:05,155
it's only 250 years ago, it's so recent.
273
00:13:05,240 --> 00:13:07,800
And how pristine and how, you know,
274
00:13:08,320 --> 00:13:10,197
virgin it was.
275
00:13:10,280 --> 00:13:13,909
And then to see Sydney
and to understand that this world,
276
00:13:14,000 --> 00:13:17,436
this extraordinary city
has sprung up out of nothing
277
00:13:17,560 --> 00:13:20,632
in such a short space of time,
it just...
278
00:13:20,720 --> 00:13:23,188
It just was invaluable to us.
279
00:13:23,280 --> 00:13:25,430
The first fleet and the
280
00:13:26,640 --> 00:13:28,631
establishing of this colony
281
00:13:28,720 --> 00:13:31,757
was something I knew very
little about. And I love history, so
282
00:13:32,920 --> 00:13:35,115
it was a real joy to research into
283
00:13:36,480 --> 00:13:38,835
this period in history
284
00:13:39,440 --> 00:13:42,318
and to find out that
Captain Collins was a real man
285
00:13:42,400 --> 00:13:45,915
who was given the position
of judge advocate
286
00:13:46,000 --> 00:13:48,309
over here in establishing the colony.
287
00:13:48,400 --> 00:13:50,960
It was quite heartbreaking
288
00:13:51,040 --> 00:13:54,271
to see the offences that people
were banished for.
289
00:13:54,360 --> 00:13:57,636
Or indeed, that people were
taken to the gallows for.
290
00:13:57,720 --> 00:14:00,951
You know, Britain was incredibly...
It was a harsh life,
291
00:14:01,040 --> 00:14:03,110
people were starving,
people were hungry,
292
00:14:03,200 --> 00:14:05,509
yet there were incredibly strict rules
293
00:14:07,360 --> 00:14:09,316
which dictated that people
294
00:14:09,400 --> 00:14:10,913
couldn't get hold of food,
295
00:14:11,000 --> 00:14:13,992
they weren't able to provide
for their families or themselves.
296
00:14:14,080 --> 00:14:16,594
So they were forced
297
00:14:16,680 --> 00:14:19,672
to commit petty crime
298
00:14:19,760 --> 00:14:22,274
in order to just feed themselves.
299
00:14:22,360 --> 00:14:24,920
And for those petty crimes,
the laws were so strict
300
00:14:25,000 --> 00:14:27,753
that they would be hung,
they would be sentenced to death
301
00:14:27,840 --> 00:14:29,990
for stealing bread or for pickpocketing
302
00:14:30,080 --> 00:14:33,152
or crimes that hopefully today we would,
303
00:14:34,840 --> 00:14:36,478
you know, would take
a bit more time to consider
304
00:14:36,560 --> 00:14:38,198
all sides of the story for.
305
00:14:38,280 --> 00:14:41,352
There is a very clear separation.
306
00:14:41,440 --> 00:14:44,477
There's the research
that's enormously useful
307
00:14:44,560 --> 00:14:49,190
to find out the correct
historical circumstances that you're in
308
00:14:49,280 --> 00:14:51,236
and what brought these people in
and why they're here.
309
00:14:51,320 --> 00:14:54,710
But then that gets parked
when you're actually playing a scene,
310
00:14:54,800 --> 00:14:57,360
it may well be about
311
00:14:57,440 --> 00:15:00,432
what's it like to know that
you're going to die in 10 minutes' time
312
00:15:00,520 --> 00:15:03,273
or what's it like to be stuck
in jail for the night.
313
00:15:03,360 --> 00:15:05,794
So there are different things
you might draw on
314
00:15:05,880 --> 00:15:09,031
but they all interplay with this
315
00:15:09,120 --> 00:15:11,873
generally fascinating research
that we did about the time.
316
00:15:11,960 --> 00:15:13,916
The bush
317
00:15:14,000 --> 00:15:16,639
is what contains these men.
318
00:15:16,720 --> 00:15:19,712
It is the prison wall,
it is the unknown.
319
00:15:20,480 --> 00:15:22,948
It is no man's land.
320
00:15:23,040 --> 00:15:25,270
So you... At any point, anyone could run
321
00:15:25,360 --> 00:15:27,191
and people do run and try and escape.
322
00:15:27,280 --> 00:15:29,316
But predominantly if they don't die,
323
00:15:29,400 --> 00:15:33,109
they come back
because it's too scary out there.
324
00:15:33,720 --> 00:15:35,676
And if you run out of water,
325
00:15:36,840 --> 00:15:39,149
it's terrifying, it is...
326
00:15:39,240 --> 00:15:41,310
If you run away in the UK,
you sort of know,
327
00:15:41,400 --> 00:15:43,868
you can sort of gauge, "Well,
there's a stream or there's that."
328
00:15:44,000 --> 00:15:45,911
You understand the environment.
329
00:15:46,000 --> 00:15:47,831
But here, it's just...
You're hearing noises
330
00:15:47,920 --> 00:15:51,230
and seeing things that you would have
never ever even been taught about.
331
00:15:51,320 --> 00:15:53,436
Anyone who is familiar
with the Australian bush
332
00:15:53,520 --> 00:15:56,159
knows that it is loud,
it is really, really loud.
333
00:15:56,600 --> 00:15:58,477
And then cockatoos
will come and fly overhead
334
00:15:58,560 --> 00:16:00,755
or kookaburras will come
and perch in the trees
335
00:16:00,840 --> 00:16:03,115
with their clarion calls and...
336
00:16:03,200 --> 00:16:05,475
And we wanted to capture all of these
337
00:16:05,560 --> 00:16:08,438
as wild tracks
but also within the scenes to use
338
00:16:09,120 --> 00:16:12,032
for both the interiors and
the exteriors and the editing.
339
00:16:12,120 --> 00:16:15,430
And all of these sounds
would have been utterly alien
340
00:16:15,520 --> 00:16:18,637
to these Georgian Britons
arriving in this place.
341
00:16:18,720 --> 00:16:20,517
Not knowing what was safe,
what was dangerous,
342
00:16:20,600 --> 00:16:22,989
what was edible, what was inedible,
343
00:16:23,080 --> 00:16:25,275
what was a threat and what wasn't.
344
00:16:25,400 --> 00:16:28,312
And there was this constant sense
of threat around these people,
345
00:16:29,120 --> 00:16:31,429
most of whom had probably never
moved a mile outside
346
00:16:31,520 --> 00:16:33,636
of their birth home
in their entire life.
347
00:16:33,720 --> 00:16:36,109
They've been on this horrific journey
348
00:16:36,200 --> 00:16:38,714
on a ship that's gone all
the way to Rio de Janeiro,
349
00:16:38,800 --> 00:16:40,791
stopped in Rio.
350
00:16:40,880 --> 00:16:43,599
They've been surrounded
by death and destruction
351
00:16:43,680 --> 00:16:45,875
and they've gone then
all the way through to here
352
00:16:45,960 --> 00:16:48,394
and they've been through
experiences together
353
00:16:48,480 --> 00:16:50,630
that has welded them into a friendship
354
00:16:50,720 --> 00:16:52,517
and a sense of loyalty
355
00:16:52,600 --> 00:16:55,558
that is beyond
356
00:16:55,640 --> 00:16:57,551
our modern comprehension, shall we say.
357
00:16:57,640 --> 00:17:00,154
I'll be adding to full driving licence
358
00:17:00,240 --> 00:17:02,549
and, er, scuba diving,
359
00:17:02,640 --> 00:17:05,154
I'll be adding axe work,
360
00:17:05,240 --> 00:17:09,950
I've had quite a good course
from some real Australian men.
361
00:17:10,040 --> 00:17:12,395
I can split some kindling wood
362
00:17:12,480 --> 00:17:14,118
with pretty good efficiency.
363
00:17:14,200 --> 00:17:19,035
If anyone's making Robin Hood 4,
I'm available in the forest.
364
00:17:19,120 --> 00:17:20,394
Erm,
365
00:17:20,480 --> 00:17:23,995
sawing less good at
but I might stick it down anyway.
366
00:17:24,480 --> 00:17:28,109
And, yeah, and leech work, we've done
a bit of leech work, that was good.
367
00:17:28,640 --> 00:17:29,993
So I can now
368
00:17:30,080 --> 00:17:31,991
hold it in front of the camera
for a good few seconds
369
00:17:32,080 --> 00:17:34,640
before I scream like a girl.
370
00:17:34,720 --> 00:17:37,712
It's been great.
It's been great being here.
371
00:17:37,800 --> 00:17:40,189
And the dirt, as you can see,
I can't get it off.
372
00:17:40,280 --> 00:17:41,759
So every time I finish filming
373
00:17:41,840 --> 00:17:44,673
and I go and say, do some shopping
or go out to eat,
374
00:17:44,760 --> 00:17:46,591
I get looks and I'm sort of...
375
00:17:46,680 --> 00:17:48,750
I've been wondering why
people are staring at me
376
00:17:48,840 --> 00:17:51,070
and then I realise
it's 'cause I have bruises,
377
00:17:51,160 --> 00:17:53,720
or what looks like bruises,
on my body constantly.
378
00:17:53,800 --> 00:17:55,995
There was a while
when I had bruises on my neck
379
00:17:56,080 --> 00:17:58,958
and that's when, yeah,
the looks were very weird.
380
00:17:59,040 --> 00:18:01,395
We wanted to create
a very simple approach
381
00:18:01,480 --> 00:18:04,233
to being able to break down
our characters
382
00:18:04,480 --> 00:18:06,710
to make sure that the actors
383
00:18:06,800 --> 00:18:08,916
didn't spend
a whole lot of time in make-up,
384
00:18:09,000 --> 00:18:11,434
that they could spend most of their time
385
00:18:11,520 --> 00:18:13,238
being in their character
386
00:18:13,320 --> 00:18:16,357
but we wanted them
to also feel a part of that.
387
00:18:16,440 --> 00:18:18,351
So we got them quite involved
very early on
388
00:18:18,440 --> 00:18:21,238
by helping them help us
389
00:18:21,320 --> 00:18:24,118
put on dirt on their hands
and getting involved a little bit more
390
00:18:24,200 --> 00:18:26,395
into what may have happened to them.
391
00:18:26,480 --> 00:18:28,311
And we asked for their opinion,
392
00:18:28,400 --> 00:18:30,595
you know, how maybe dirty
their hands would be,
393
00:18:30,680 --> 00:18:33,433
what sort of work, what sort
of tasks they were doing.
394
00:18:33,520 --> 00:18:37,593
But we created basically
a sort of a watercolour effect
395
00:18:37,680 --> 00:18:39,955
which would just cover the...
396
00:18:40,040 --> 00:18:42,156
All the hands and all the face,
397
00:18:42,240 --> 00:18:46,313
just very, very tiny bit
mixed with a little bit of oil
398
00:18:46,400 --> 00:18:49,358
for a bit of sheen and it would
pour into the pores of the skin
399
00:18:49,440 --> 00:18:51,078
and therefore it would be very in-ground
400
00:18:51,800 --> 00:18:53,916
and it would be maintained
very easily on set
401
00:18:54,000 --> 00:18:57,754
so that, once again,
we weren't impacting on time
402
00:18:57,840 --> 00:19:01,469
and making constraints
on the production as a result.
403
00:19:01,560 --> 00:19:04,120
In the real situation,
people would have used
404
00:19:04,200 --> 00:19:06,873
wax to form their hair,
their hair would have been dirty.
405
00:19:06,960 --> 00:19:09,758
They wouldn't have necessarily had soap
if they were convicts
406
00:19:09,840 --> 00:19:13,469
because soap was a very specific,
you know,
407
00:19:13,560 --> 00:19:16,358
thing that got given to the richer.
408
00:19:16,440 --> 00:19:19,113
And the poor people
didn't have access to that.
409
00:19:19,200 --> 00:19:21,395
But they would have had
maybe sea water to wash with
410
00:19:21,480 --> 00:19:23,630
so their hair would be quite bedraggled.
411
00:19:23,720 --> 00:19:26,029
It would be quite...
412
00:19:26,120 --> 00:19:28,793
It wouldn't have access
to brushes and combs.
413
00:19:28,880 --> 00:19:31,189
So to recreate that
414
00:19:31,280 --> 00:19:34,078
we gave it a bit of a salty feel.
415
00:19:34,160 --> 00:19:36,913
We gave it a little bit
of a windblown feel.
416
00:19:37,000 --> 00:19:39,355
And we added
dust in the hair to create...
417
00:19:39,440 --> 00:19:41,351
Because there's a lot
of dust in the environment.
418
00:19:41,440 --> 00:19:43,635
They're sleeping in dusty,
dirty conditions,
419
00:19:43,720 --> 00:19:44,835
so that added to it.
420
00:19:44,920 --> 00:19:47,593
I love not having to worry about
421
00:19:47,680 --> 00:19:49,318
how I look or,
422
00:19:50,920 --> 00:19:54,196
yeah, how I come across, being able
to just focus on the truth in the scene.
423
00:19:54,880 --> 00:19:57,997
I mean, I know that sounds
a little bit ridiculous sometimes
424
00:19:58,080 --> 00:20:00,230
but it is true. It's just a real joy
425
00:20:00,320 --> 00:20:02,709
to be able to focus on the storytelling
426
00:20:03,440 --> 00:20:06,113
and let other people worry about
the look and what it's meant to be.
427
00:20:06,360 --> 00:20:08,510
Yeah. I don't mind
428
00:20:08,600 --> 00:20:10,636
not looking glam at all.
I think it's great.
429
00:20:10,800 --> 00:20:12,597
For David Walmsley and Rory McCann,
430
00:20:12,680 --> 00:20:15,558
who played Stubbins and Marston,
431
00:20:15,640 --> 00:20:17,676
they had to learn how to...
432
00:20:17,760 --> 00:20:20,149
They genuinely had to learn
how to smith metal,
433
00:20:20,240 --> 00:20:21,753
how to work metal,
434
00:20:21,960 --> 00:20:23,791
in our live forge.
435
00:20:24,280 --> 00:20:26,874
And it was a challenge
they both relished.
436
00:20:28,120 --> 00:20:29,792
And literally during a scene,
437
00:20:29,880 --> 00:20:32,269
while they're acting,
they're having to work live metal.
438
00:20:32,360 --> 00:20:35,272
I mean, that's the way,
that's how the smiths would describe it.
439
00:20:35,360 --> 00:20:40,036
Heat it, get it to a temperature
where it's malleable
440
00:20:40,120 --> 00:20:43,396
and then literally work it
whilst playing the scene.
441
00:20:43,480 --> 00:20:47,792
And both of them did it
with huge ability, actually.
442
00:20:47,880 --> 00:20:50,633
They, you know,
they were both being trained by
443
00:20:50,960 --> 00:20:53,599
a blacksmith
444
00:20:53,680 --> 00:20:57,070
who only works on period methodology.
445
00:20:57,960 --> 00:21:00,758
And, you know, fortunately,
it's a world that's full of
446
00:21:01,080 --> 00:21:04,231
pedants and experts in different crafts.
447
00:21:04,520 --> 00:21:07,114
No, I haven't done any smithing before
but I've got...
448
00:21:07,200 --> 00:21:11,193
I've actually got three pals in Scotland
449
00:21:11,280 --> 00:21:14,033
- that are farriers, blacksmiths.
- INTERVIEWER: Ah!
450
00:21:14,200 --> 00:21:18,432
And when I came over, you don't
really know what to expect in sets,
451
00:21:18,520 --> 00:21:22,069
you know, a lot of it's all pretend,
as you can imagine.
452
00:21:22,160 --> 00:21:23,639
But when I got there,
453
00:21:23,880 --> 00:21:28,078
the anvil was a real anvil
that was used by convicts,
454
00:21:28,680 --> 00:21:32,036
and the forge, that,
the bellows were as well,
455
00:21:32,120 --> 00:21:33,473
it was the original kit.
456
00:21:33,560 --> 00:21:36,711
And, you know, that was the effort
they made with it.
457
00:21:37,400 --> 00:21:41,473
And this incredible design...
458
00:21:41,560 --> 00:21:44,393
designed set we're working on
is for real.
459
00:21:44,480 --> 00:21:47,199
And that is the most exciting thing,
460
00:21:47,280 --> 00:21:49,350
that, you know,
it's all playing make-believe
461
00:21:49,440 --> 00:21:52,113
we're grown-ups getting to play
make-believe and quite often it's hard,
462
00:21:52,200 --> 00:21:54,191
you're pretending there's an alien
coming at you
463
00:21:54,280 --> 00:21:56,999
and it's just a man with a tennis ball
with some eyes on it
464
00:21:57,080 --> 00:21:58,149
for some sci-fi thing
465
00:21:58,240 --> 00:22:00,470
or there's a green screen
and you have to imagine you're here.
466
00:22:00,560 --> 00:22:04,348
Here, you come out of your tent
and you look down
467
00:22:04,440 --> 00:22:07,876
and for 700 metres
you can see people and life
468
00:22:07,960 --> 00:22:10,520
and real fires,
people doing things and you're just,
469
00:22:10,600 --> 00:22:12,989
"Okay, I'm here." You know.
470
00:22:13,080 --> 00:22:15,719
Bar putting camouflage
over the cameramen,
471
00:22:15,800 --> 00:22:18,075
it's like,
it's as real as it's ever felt.
472
00:22:18,160 --> 00:22:21,118
There's no feature film I've done,
nothing I've seen
473
00:22:21,200 --> 00:22:23,350
with such attention to detail
and beautiful,
474
00:22:23,440 --> 00:22:25,715
I mean, this stuff should stay
as some kind of museum, you know,
475
00:22:25,800 --> 00:22:27,392
it's extraordinary, it's extraordinary.
476
00:22:27,480 --> 00:22:29,550
Banished means an awful lot to me.
477
00:22:29,640 --> 00:22:33,269
It is the stand-out screen job
of my life.
478
00:22:33,360 --> 00:22:37,353
I will be very surprised
479
00:22:37,440 --> 00:22:40,000
if anything comes near it ever again.
480
00:22:43,440 --> 00:22:53,000
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