All language subtitles for Looking.For.Richard.1996.1080p.WEBRip.x264.AAC-[YTS.MX]

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[ Man ]
Our revels now are ended.

These, our actors,
as I foretold you,
were all spirits...

that melted into air--
into thin air.

And like the baseless fabric
of this vision,

the cloud-capped towers,
the gorgeous palaces,

the solemn temples,

the great globe itself,

yea, all which it inherit...

shall dissolve.

And like this insubstantial
pageant faded,

leave not a wisp behind.

We are such stuff
as dreams are made on,

and our little life
is rounded with a sleep.

Who's gonna say "Action"
around here? Should I say it,
or should you say it?

You wanna say it?
Anytime. You can say it.

All right. I don't want to.
Just say it. You say it.

[ Man ]
And action!

How do I look?

I can't see anything.

[ Whispering ]
Are they out there?

This is my entrance.

Fuck!

[ Indistinct ]

[ Man ]
I'm actually reading
Richard III.

And I can't get on with it.
I mean, I've been reading it
for about six months.

You want to do it in Am--
with your American accent?

We're getting $40 a day
and all the doughnuts we can eat
on this project.

Shakespeare?
What the fuck do you know
about Shakespeare?

Arise, fair sir,
and kill the envious moon!

Like eager droppings into milk,
it doth posit and cur.

Some are born great,
some achieve greatness,

and some have greatness
thrust upon them.

[ Man ]
Intelligence is spoke
with language.

When we speak with no feeling,
we get nothin'
out of our society.

We should speak
like Shakespeare.

We should introduce Shakespeare
into the academic.

You know why?
Because then the kids
would have feelings.

[ Pacino ]
That's right.
We have no feeling.

That's why it's easy for us
to get a gun
and shoot each other.

We don't feel for each other.
That's right.

But if we were taught to feel,
we wouldn't be so violent and--

And you think that Shakespeare
helps us with that?

He did more than help us.
He instructed us.

Hi. Gonna see
the play tonight?

Good to see you.

Hello.
How are you?

How much it cost?
It's for free.

Okay, I'll go.
Okay.

Thanks a lot.
It'll be your first
Shakespeare play you've seen?

Yeah.
It'll be interesting.
Give it a try.

I saw Hamlet here recently.
You saw Hamlet?

How did you feel about it?
What, did you see it live?
It sucked.

It's what?
It sucked.
I saw it live.

It sucked?
Yeah.

Is there anything you can
think of with Shakespeare...

that makes you think
that it's not, like,
close to you...

or connected to you
in any way?
Yeah, it's boring.

The Bank of England,
the bank uses Shakespeare...

as its current bank card.

See, it's a hologram.
They use it as I.D...

to prove it's a real card.
I see. What do you think
of Shakespeare?

He's a great export.

And who's movin' in
on Shakespeare now?
The Japanese!

'Cause they're kickin'
the Americans' ass,

and they're all interested
in Shakespeare
all of the sudden.

You know Shakespeare?
William Shakespeare?

We're peddling him
on the streets.

I remember our English teacher
sent us to see...

a local college production
of King Lear.

I went with my girlfriend.

And after about 10 minutes
of these people--

[ Mumbling Incoherently ]
And they were doing this kind
of Shakespearean acting,

and, um,
I just tuned right out.

We just kind of made out
in the back row and then
left at the intermission.

I was brought up
in a school...

where Shakespeare was taught
in the first instance...

very kind of
straightforwardly and dully,
to be perfectly honest.

We'd read it aloud,
and of course
it made no sense to us,

'cause there was no
kind of connection made.

My own experience...

was in the fields in Michigan
when I was raised on a farm.

An uncle
who was a northern guy--
a black northern guy--

came out to the field one day
and started narrating
Antony's speech--

the funeral oration.

From Shakespeare's
Julius Caesar.
Yeah.

We'd heard stuff in the Bible,
but my first time as a kid,

I was hearing great words
having great meaning,
you know?

[ Man ]
What has brought us to Montreal?

What has taken you to Paris?

What has taken you to London?
What takes us into dungeons,
to parapets--

To Japan next.
Japan, maybe--
is a quest.

[ Pacino ]
It has always been
a dream of mine...

to communicate
how I feel about Shakespeare
to other people.

So I asked my friend
Frederic Kimball,

who is an actor and a writer,

and also our colleagues
Michael Hadge and James Bulleit
to join me,

and by taking this one play,
Richard III,

analyzing it,
approaching it
from different angles,

putting on costumes,
playing out scenes,

we could communicate
both our passion for it,

our understanding
that we've come to,

and in doing that
communicate a Shakespeare...

that is about how we feel
and how we think today.

Now, that's the effort
we're gonna give it here.

We've done Richard
three times. Twice.

You did it once at the studio.
We've done it in Boston,
we have done it on Broadway.

At least the head start
is that I've done it.

You've done it.
But the problem though,
Frederic, is--

The audience hasn't done it.
That's who hasn't done it.

But the problem is
this is a difficult play.

If someone were to ask you
about the play Richard III,
what would you remember?

Uh, to be honest,

I really don't remember
that much, if anything at all.

Did you know that Richard III
had a deformed arm
and a deformed back?

No, I didn't know that.
You didn't know that, did you?

The play, Richard III,
about the guy
with the humpback?

- No.
- You got me there.

Mm-hmm.
He was a humpback
with one arm.

"A horse. A horse.
My kingdom for a horse."

Remember that?
Yes.

That comes from the king.
It does, yes.

I mean, nobody knows
who Richard III is.
Nobody!

No wonder.
It's a tough play to get.

The relationships
between all those characters.
Who can keep it straight?

I think we-- The question is,
what is the understanding?

I mean,
the understanding is simply,

can you follow
the story line and the plot?

We've provided this kind of
docudrama type thing...

to inform some of the scenes
so you know where you are.

For instance,
there's an early scene...

with the queen and her brother
and her two sons...

which is outside
in an anteroom...

waiting for the king to
call them in, because the king
is inside and he's sick.

The queen is worried because
she's afraid the king
is gonna die,

who is her husband.

And when he dies, the only--

the only people left
to inherit the throne...

are her two young sons
by the king himself.

She has two sons
by a previous marriage,
which are in the scene with her,

and she's afraid that...

the character I play,
Richard III, Gloucester,

is going to take hold
of the situation...

and, uh, somehow
manipulate them into thinking...

that their, you know--
that their kids are--

I'm confused
just saying it to you,

so I can imagine how
you must feel hearing me talk.

It's very confusing.
I don't know why we even
bother doing this at all.

But, uh, we're gonna
give it a little try.

Let's see what
we can come up with.

First of all,
let's get a smaller--
[ Kimball ] I think that--

Let's work out of
a smaller book than this.
This is hard to carry around.

Excuse me, but look at this.
Hello? Uh, yes.
It's my entrance?

Oh, I see.
Uh--

It's good sometimes
that you open it,
and it is Richard.

It's not Hamlet.

Because sometimes
in Shakespeare,
there's a tendency...

to confuse the plays.

The first act is an act
about a sick kid...

and about everybody
maneuvering around.
Sure.

I wish that this play...

could begin on the body--

on the sleeping king--
Edward IV, your brother--
in bed.

Yeah.
And it pans up,

and you are standing over him
looking at him.

Yeah.

Yes, but he's alive.
The king is alive.

Yes, I'm alive.
I would prefer--

I would prefer having him
off in the distance.
I'd like--

Good. You can watch him--

I'd like the walk--
Frederic, could you get
the other--

Yeah.
I'd like--
Hi. How are you?

[ Pacino ]
So Frederic and I decided
to go to the Cloisters,

a museum that has
a medieval setting,
which is very good for us.

Because the play Richard III
takes place in this period,

we thought we might just
rehearse the opening scene
in this atmosphere.

We're shooting a--
I'll be with you in a minute.

If you could just
wait for me out there.

So you're here.
Okay. Okay.

And here we are.
Okay.

Okay, now,
you're Richard's brother,
the sick king,

and I'm Richard.

Yes. I go this way.
[ Groaning ]

You follow me.

Now--

How exciting to start
a play with "Now."

Mmm! I mean,
you'd wake your audience up,
wouldn't you? "Now!"

Now...

is the winter
of our discontent,

made glorious summer...

by this sun of York.

It's a pun.
The sun of York...

is the sun in the sky over
the English countryside of York.

York is also your family name,

and you are
one of three sons of York.

Well, let me
say it again then.

Now is the winter...

of our discontent,

made glorious summer--

[ Pacino ]
I recently came out
and said the opening speech...

from Richard
to a group of students.

"Our discontent
made glorious summer."
Anybody know what that means?

Who were interested, 'cause
I obviously meant something,
didn't know what I meant.

"Now is the winter
of our discontent."
What am I saying?

He was referring to their part
to the Wars of the Roses.

Before the play
Richard III starts,

we gotta know a little bit
about what happened
before the play starts.

And what happened is,
we've just been through
a civil war...

called the War of the Roses,

in which the Lancasters
and the Yorks...

clashed.

Two rival families,
and the Yorks won.

They beat the Lancasters
and they're now in power,

and Richard is a York.

My brother Edward
is the king now.

And my brother Clarence
is not the king,

and me, I'm not the king.

I wanna be the king.
It's that simple.

The key word clearly...

right from the start
is "discontent."

[ Pacino ]
So Richard in the very
opening scene of the play...

tells us just how badly...

he feels about
the peacetime world
he finds himself in...

and what he intends to do
about it.

Now is the winter
of our discontent...

made glorious summer...

by this sun of York.

And all the clouds
that lour'd on our house...

in the deep bosom
of the ocean buried.

And part of the trouble
is that...

the Wars of the Roses,
the wars for the crown,

are now over because
the crown has been won
by the Yorks,

which means that
they can stop fighting.

Now are our brows bound...

with victorious wreaths,

our bruised arms
hung up for monuments,

our stern alarum changed
to merry meetings.

What do they do
when the fighting stops?

Grim-visag'd war...

hath smoothed
his wrinkled front.

And now,
instead of mounting
barbed steeds...

to fright the souls
of fearful adversaries,

he capers nimbly
in a lady's chamber...

to the lascivious pleasings
of a lute.

[ Woman ]
And you see lovemaking...

and relations
with the other gender...

as what you translate
your male aggressions into.

But Richard III
has a little problem here.

But I...

that am not shaped
for sportive tricks,

nor made to court...

an amorous looking glass--

I, that am curtailed
of this fair proportion,

cheated of feature
by dissembling nature,

deformed--
deformed--

- He was a hunchback.
- [ Pacino, Echoing ]
Deformed.

Unfinished,

sent before my time
into this breathing world
scarce half made up,

and that so lamely
and unfashionable...

that dogs bark at me
as I halt by them.

Why I, in this weak
piping time of peace,

have no delight
to pass away the time...

unless to see my shadow
in the sun...

and descant upon
my own deformity.

Shakespeare has exaggerated
his deformity...

in order to body forth
dramatically, visually,

metaphorically...

the corruption of his mind.

Therefore,

since I cannot prove a lover
to entertain
these fair, well-spoken days,

I am determined
to prove a villain...

and to hate
the idle pleasures
of these days.

Richard's always saying,

"Look, here's the situation,
and here's what I'm gonna do.
Now, watch this."

And then he does it,
and then they all leave.
He says,

"Now, was that good or what?
Did you see how I--
This is fun."

Plots have I laid,

inductions dangerous,

to set my brother Clarence
and the king...

in deadly hate
the one against the other.

And if King Edward
be as true and just...

as I am subtle,
false and treacherous,

this day should Clarence
be mew'd up...

about a prophecy that says...

that "G" of Edward's heirs...

the murderer shall be.

It's, "This day should Clarence
closely be mew'd up
about a prophecy which says...

that 'G' of Edward's heirs--"
Right.

By "G."
What does that mean?

Yes?
Uh, Clarence--

George, duke of Clarence.
His first name
is really George.

Whose first name?
Clarence's.

And that's why
they call him "G."

And I suggest that
you just change it to "C."

"This day should Clarence
closely be mew'd up
about a prophecy...

"which says that...

'C' of Edward's heirs
the murderer shall be."

"C" of Edward's heirs
the murderer shall be.

Dive, thoughts,
down to my soul.

Here Clarence comes.

Cut!

See, what we gotta do--
What we should do...

is we should get
actors in here.

We should--
Not audition them.

Just get them in
and let them just sit around,
you know?

And just see and read.

We'll have different people
read different roles.

And hopefully somehow,

the role and the actor
will merge.

The actor will find the role.

An actor will read one part.
Another actor
will read another.

And hopefully,
the casting will get done.

[ Telephone Ringing ]

[ Pacino ]
Who's got Dorset?

Who's got Dorset?
How about Lord Grey?

Richard will read Dorset.

He's gonna be Buckingham.
It'll come in a couple of pages.
I thought you were doing it.

- No, he's doing Catesby.
- What am I reading?

[ Man ]
Dorset and Grey
are the same people.

[ Pacino ]
Dorset and Grey are--
Yes.

Well, you two guys
better sit on each other then.

Stanley-- Stanley--
We used two actors
in the same part.

It's gonna take us
four weeks rehearsal...

just to figure out
what parts we're playing,
and that's--

In normal or modern plays
or plays we have this feeling,
we understand it.

It's there for us.

But in Shakespeare, you know,
you have an entire company
on the stage,

good actors,
not knowing where they're going,
where they are!

As Americans,
what is that--

that thing that gets
between us and Shakespeare...

that makes
some of our best actors...

sort of just stop
when it comes to Shakespeare?

The problem with being
an American in Shakespeare is
you approach it reverentially.

We shouldn't, but we do,
and we have a feeling,
I think,

of inferiority
to the way it has been done
by the British.

I think Americans...

have been made
to feel inhibited.

Because they've been told
so long...

by their critics,
by their scholars,

by all the commentators
in Shakespeare that
they cannot do Shakespeare.

Therefore,
they've got it into their head
that they can't.

And you become
totally self-conscious.

And I think the great thing
about American actors is that
they're not self-conscious.

But they are when
it comes to Shakespeare,

because they've been told
they can't do it,

and very foolishly
they believe that.

Perhaps they don't go
to picture galleries...

and read books
as much as we do,

because I think
it's the fact of...

how everybody looked
and behaved...

that one got this sort of
Elizabethan feeling of period.

Experienced classical actors...

have a few things
that they can use
at a moment's notice.

The understanding
of iambic pentameter,
for one thing.

[ Pacino ]
Everybody says all the time,

"Iambic pentameter.
Shakespeare--
iambic pentameter."

What is that
supposed to mean?
Hi.

Some people say
there are no rules.

I would say
there are certain rules,
like the iambic pentameter,

that have to be learned
and then can be rejected
once you've learned them.

When they say "pentameter,"

they mean "meter,"
and "pen" meaning "five,"
so there's five beats.

Which, at its worst,
sounds only like--

"Why so... now have...
I done... a good...
day's work."

Da-da, da-da, da-da,
da-da, da-da.

And "iambic" is where
the accent goes.

It's da-dum, da-dum,
da-dum, da-dum.

And five of them--
da-da, da-da, da-da,
da-da, da-da--

make a pentameter line.

Five iams.
The iam is like...

a-- an anteater.

He's very high in the back,
and very short,
little front legs. Da-da!

Shakespeare's poetry...

and his iambics...

floated and descended
through the pentameter
of the soul.

And it's the soul--
if we like, the spirit--

of real, concrete people
going through hell...

and sometimes moments
of great...

achievement and joy.

That is the pentameter
you have to concentrate on.

And should you find
that reality,

all the iambics
will fall into place.

Dive, thoughts,
down to my soul.

Here Clarence comes.

Brother, good day.

What means this armed guard
that waits upon your grace?

His Majesty,
tendering my personal safety,
hath appointed this conduct...

to convey me to the tower.

- Upon what cause?
- Because my name is George.

Clarence.

What is the matter,
may I know?

Yea, Richard, as I know,
but I protest as yet I do not.

But as I can learn,

he harkens
after prophecies and dreams,

and from the cross row
plucks the letter "G"...

[ No Audible Dialogue ]
and says a wizard told him...

that by "G,"
his children disinherited
should be.

And for my name of George
begins with "G,"

it follows in his thought
that I am he.

These, as I learn...

and such like toys
as these,

hath moved His Highness
to commit me now.

Why so it is when men
are ruled by women.

'Tis not the king
that sentenced you
to the tower, Clarence.

'Tis Milady Grey, his wife.

'Tis she that tempts him
to this extremity.

We are not safe, Clarence.
We are not safe.

[ Pacino ]
Now if Richard's brother Edward
was king, right,

and then he dies,

Clarence, his other brother,
is next in line, right?

No, the kids
were next in line.

And after the king's kids
came Clarence.

[ Pacino ]
So Richard figured,
"Let me get rid of Clarence,

and then I'll work out
how I get rid of the kids."

Meantime, this deep disgrace...

in brotherhood touches me...

deeper than you can imagine.

I know it pleaseth
neither of us well.

Your imprisonment
shall not be long.

I will deliver you,
else lie for you.

Meantime, have patience.
[ Man ]
It's time, my lord.

I must perforce.
You must.

Farewell.
[ Pacino ] Well,
it looks like Richard's plan...

is really starting
to work now.

He's gotten the king
to put Clarence in the tower...

by poisoning the king's mind
against him.

So now, he's got
one brother locked up,

the other brother who's king
is sick.

So he's in
pretty good shape now.

I mean, he can move around.
He can maneuver.
He's got room.

[ Richard ]
Go...

tread the path
thou shalt never return.

Simple, plain Clarence,

I do love thee so...

that I shall shortly send
thy soul to heaven.

[ Man ]
Prisoner approaching.

[ Door Slams Shut ]

Who is this?
The new-delivered Hastings.

Ah! Good time of day
unto my gracious lord.

As much is unto
my good Lord Hastings.

Well, are you welcome
to this open air?

How hath your lordship
brook'd imprisonment?

With patience, noble lord,
as prisoners must.

It's interesting because
you can do something
from Shakespeare...

that you're feeling it
or whatever you're doing,
or you love it,

and you think
you're communicating it,

and the person
you've just said it to has not
understood a word you've said,

and you can't believe
that they didn't get it.

"Thou stand--"
You know, just the things--
the way it's worded,

sometimes that confuses...

the people of, you know,
this time period.

Shakespeare used
a lot of fancy words.

You know,
it's hard to understand--
to grasp those words.

Excuse me.
They're not fancy words.
That's where we are confused.

I think putting them--
They're poetry, though.

It's hard to grab hold
of some rap slang too.

But it's hard to get hold of it
until your ear gets tuned.
You have to tune up.

In a contemporary play,
somebody would say,

"Hey, you, go over there,
get that thing
and bring it back to me."

That would be the line.
Shakespeare says it,

"Be Mercury.
Set feathers to thy heels...

and fly like thought
from them to me again."

The king is weak
and sickly,

and his physicians
fear him mightily.

Oh, by Saint John,
that news is bad indeed.

O, he hath kept
an evil diet long.

You shouldn't have to understand
every single word that's said.

Why? Do you understand every--
I mean, it's just not important.
That's true.

It doesn't matter.
As long as you get the gist
of what's going on, trust it.

You'll get it.

If he were dead,
what would betide on me?

No other harm but
loss of such a lord.

The loss of such a lord...

includes all harms.

[ Kimball ]
They're trying to soothe her
because she is an hysteric.

They've got a lady here
who is way out of control.

But that's about
what weakened a great deal--
the underlying reality--

No, I think it strengthens
the incompetence of--

But why
should they be incompetent?

Why? Why make them weaker?

Because they went to Ludlow
with little training,

and got
their heads cut off.

Because then, it's
no great deed on his part
if you make them weak.

[ Pacino ]
They're not weak.
I don't think that they're weak,

nor do I think
that they're stupid.

And by diminishing
their importance,
you diminish his actions.

- It's bound to happen.
- I think that it's a very
human, familial thing to say,

"Calm down.
It's going to be all right."

But I think underneath it that
they know what the scoop is,

and I keep
throwing back at them,

"Stop! You know damn well
what's going on."

And that's why I'm hysterical.
You know it.

If he dies, that's it.

[ Pacino ]
Let's start the scene.
Let's do it.

Have patience, madam.
There's no doubt...

His Majesty will soon recover
his accustomed health.

In that you brook it ill,
it makes him worse.

Therefore, for God's sake,
entertain good comfort...

and cheer his grace
with quick and merry eye.

And that's the way
you want me to behave?
Is that it?

If he were dead,
what would betide on me?

No other harm, Mother,
but loss of such a lord.

The loss of such a lord...

includes all harm.

The heavens have blessed you
with a goodly son...

to be your comforter
when he is gone.

Ah, he is young!

His minority is put
into the trust...

of Richard Gloucester.

'Tis a man
that loves not me,

nor none of you!

We gotta come up with ideas,
ways in, direction.
We need a plan.

We've gotta start writing
prefaces,

or like a little--
Right.

"Today, we're gonna do
these scenes, but I want you
to talk about Lady Anne...

and what happens
with Lady Anne."

How are you?
How you doin'?

Yeah, if you like.
How do you feel
about Shakespeare?

He feels good.

[ Speaking Italian ]

[ Both Speaking Italian ]

Shakespeare.
William Shakespeare.
William Shakespeare, right.

You like him?
Of course I like him.

Tell me about it.
Did you ever see Shakespeare?

I never studied.
You've never seen him?

You've never seen a show?
But you still like him?

Well, sometime I see
something good in theater.

On TV?
But Shakespeare,
you don't see it much?

Not much.
That's too bad.

Because there's no
Shakespeare on TV.

No, no. Perfectly fine.
Sometimes, it comes on.

But to be or not to be,
that is the question, right?

Right.
That is the question.

[ Richard ]
They do me wrong,
and I will not endure it!

I fear our happiness
is at its height.

[ Richard ]
Who is it that complains
unto the king...

that I, forsooth,
am stern and love them not?

Because I cannot flatter?
Look fair?

Smile in men's faces?

Deceive? Cog?

Duck with French nods
and apish courtesy?

I must be held
a rancorous enemy.

[ Pacino ]
The world that they live in,

the world that
they exist in...

is privy to
these kinds of--

Is internecine
family quarrel.

That's right.
They are clawing at
each other for the throne.

Brother Gloucester,

we know your meaning.

- You envy my advancement
and my friends.
- Ah!

God grant...

we may never
have need of you.

Meantime, God grants
that I have need of you.

Our brother is imprisoned
by your means.

Myself disgraced,
the nobility of the house
held in contempt,

while great promotions
are daily given
to ennoble those...

that scarce some two days
since were worth a noble!

By him that raised me...

to this careful height...

from that contented hap
which I enjoyed,

I never did incense His Majesty
against the duke of Clarence!

What, you're gonna say to me now
you are not the mean...

of my Lord Hastings
late imprisonment?

[ Pacino ]
You see what Richard is doing
here? He's stirring the pot.

The king is dying,
and because of that...

he's fearful and paranoid
and sending people off
left and right to jail.

Now, this is a situation
Richard loves,

because he can use the fear,
the general turmoil,
to his advantage.

He knows these people hate
each other, and he's gonna use
their hatred to manipulate them.

You know, to divide,
then conquer.

My lord of Gloucester,
I have too long borne...

these blunt upbraidings
and these bitter scoffs.

By heaven,
I will acquaint His Majesty
of these gross taunts.

Why, I would rather be
a country servant-maid--
What?

Threat you me
with telling of the king?

Tell him, and spare not!

Oh, let me put it
in your minds if you forget...

what you are ere this,
and what you are.

Withal what I have been,
and what I am.

A murderous villain,
and so still thou art.

[ Pacino ]
Well, it is
a complicated play too because--

And all those relationships
and the wives...

and the Queen Margaret stuff
is difficult.

Hear me,
you wrangling pirates...

that fall out in sharing that
which you have pill'd from me!

[ Pacino ] Margaret.
Now, Margaret was the queen
before the civil war took place.

She was a Lancaster,
and she was dethroned
by the Yorks.

Well, she's kind of
a ghost of the past...

who haunts the Yorks
with her curses.

A husband and a son--

Don't you think
she rants and raves around
the castle like this a lot?

No. I don't think so.

I think she just
comes in this day,

because it's a crisis time
and she feels it.

Give way, dull clouds,
to my quick curses.

It's primordial, I think.

She brings that kind
of music into this experience.

Poor, painted queen.

The day will come
that thou shalt wish for me...

to help thee curse this
poisonous bunch-backed toad.

[ Woman ]
Reading this play
as I take word by word,

everything she says happens.

Beware of yonder dog.
Have not to do with him.

Beware of him.
Sin, death and hell
have set their marks on him,

and all their messengers
are wait on him.

[ Richard ]
Oh, thou hateful, withered hag
have done thy charm.

And leave out thee?
Stay, dog,

for thou shalt hear me.

The worm of conscience
still be-knaw thy soul.

Thou elfish-marked,

abortive, rooting hog.

Live each of you...

the subject to his hate.

And he to yours,
and all of you to God's!

We don't say a word.
We let her go.

[ Woman ]
The music. Literally,
I mean, the music...

and the thoughts
and the concepts...

and the feelings
have not been divorced
from the words.

And in England,
you've had centuries in which...

word has been
totally divorced from truth,

and that's a problem
for us actors.

If we think words and things
and we have no feelings
in our words,

then we say things
to each other
that don't mean anything.

But if we felt what we said,
we'd say less and mean more.

Spare some change?

It'd be interesting to see
where he, uh--

Is that possible?
Where Shakespeare was born?

I think that's Shakespeare
up there in the window there.

Knock first.
Knock, Frederic.

[ Pacino ]
Ah. Hello.
Okay.

Frederic, you've--
Where was
William Shakespeare born?

There's the bed of birth.

[ Frederic ]
You gotta be kidding.

[ Pacino ]
Well, I wouldn't kid you
about a thing like that, Fred.

It's too late.

Well--
It's a very,
very small bed.

I was expecting
to have an epiphany--

an outpouring of the soul
upon seeing--

Well, why don't you go out
and come back again.

If you're really an actor,
you can come back
and have an epiphany.

I did, only--
Did you have an epiphany?

But I'm not showing it.
I'm not showing it.

[ Siren Wailing ]
No, it's an inner one.
We're not alone, you know.

Every once in a while--
There's a fire truck out there.

it seems worthwhile
to pause and think...
We tripped some alarm.

about what brought us
to where we are.

You talk too loud,
and I think
it set off an alarm.

[ Man ]
I've got the fire officer
in here.

I think
we've upset a fire--

There's a fireman.
Uh-huh. Hello.

Unfortunately,
the sensor head is here.

There. That's going
to be the problem.

Yeah. What is it?
Is it--

That's a real bummer.
We come 6,000 miles to see
where Shakespeare was born--

[ Woman ]
It's the greatest period
in British arts, you know.

This extraordinary development
and maturing
and depth of drama.

In 20 years Shakespeare's over,
and you've got
the greatest drama we've got.

And Shakespeare learns
incredibly fast,

and already in
this very early play...

he's thinking about
human beings as actors
and about the stage...

and the imagination
as a bit of life.

Hey, Jimmy?

How's the sandwich?

What we're saying is that
we're gonna bite the bullet...

and gonna do act two
of the play.

No, no, no.
What we said was we're gonna
shoot the death of Richard,

the murder of Clarence,
and that's it.

No, the king makes peace--
What are you saying, Mike?

We got the end
of a movie to shoot.

"A horse, a horse.
My kingdom for a horse."

Hey, fellas, the cops are here.
The police say we need a permit.
What do you mean?

What, I need a permit?
Why do I need a permit?

- Talk to Louie.
- We have to give up
a meal like this.

You have to go, guys.
You have to go.
I'm not leaving.

Hope you like turkey.

[ Laughing ]
So we are gonna gather...

a young--
a young Lady Anne--

Well, I wanna cast
somebody very young.

Very young. How young?

As young as you can get
and be able to do Shakespeare
and understand the scenes.

Someone young enough
to believe...
in Richard's rap.

The only problem is,
we have to find someone...

who's gonna be able
to speak the part,

which is part of the reason
you always have
an older actress.

Well, you know,
we don't have to have--
It takes maturity.

The problem of
projecting the role
won't be there,

because it's a film.

So we won't have the need
for the actor to project.

That's right.
So we need a film actress.

Great. Great.

Someone like, uh--

We'll think of someone.

Well--

[ Richard ]
I will marry
the beautiful Lady Anne.

What, though I killed...

her husband and his father?

The readiest way
to make the wench amends...

is to become her husband
and her father.

[ Man ]
This language is
the language of thoughts.

In a theater, to do this
you have to speak loud,

and there are very few actors
who can speak loud...

and still be truthful.

That's the actor's problem.
Every actor knows...

that the quieter he speaks,
the closer he can be
to himself.

Now, when you
play Shakespeare...

in close-up in a film...

and have a mike
and can really speak the verse
as quietly as this,

you're not going against
the nature of verse.

You're going
in the right direction,

because you're really
allowing the verse...

to be a man speaking
his inner world.

[ Chuckling ]

Set down, set down
your honorable load.

If honor may be shrouded
in a hearse--

[ Richard ]
Was ever woman
in this humor woo'd?

Was ever woman
in this humor won?

- I'll have her.
- I'll have her.

But I will not
keep her long.

He says he'll have her,
but he will not keep her long.
Okay.

What are you asking?
Why does he want her?

Well, I think it's clear.
He's out to get this girl.

To take her...

in her heart's
extremist hate.

[ Spits ]
[ Groans ]

He's killed her husband
in the civil war.

Tears in her eyes!

And murdered
her father-in-law.

The bleeding witness
of my hatred by.

- He's out to get her.
- To win her!

Hot.

[ Sniffles ]
I pour the helpless balm
of my poor eyes.

Her mourning is genuine,
because she loved him.

[ Kimball ] She goes out on the
street, and is it an accident
that she meets Richard--

the man who killed
this man and her husband?

Is it not possible that...

she not have any idea
that if she went out
with a corpse...

making frequent stops--

Does anybody have a better thing
than Frederic on this?

You just said that you were--
that we didn't answer
the question--

what was motivating--
[ Pacino ]
Did that upset you?

[ Ryder Laughs ]
No, you-- No.
Then what did you say?

You said that you were gonna
find a scholar from somewhere...

who was gonna speak
directly into the camera
and explain...

what really went down
with Richard and Anne.
Oh, yeah.

And I am telling you that
that is absolutely ridiculous--

that you know more
about Richard III...

Oh, Fred.
than any fucking scholar
at Columbia or Harvard!

Fred.
This is ridiculous,

because you're making
this entire documentary...

in order to show that actors
truly are the possession.

They're the possessors
of a tradition--

the proud inheritors
of the understanding
of Shakespeare, for Christ sake!

And then you turn around
and say,

"I'm gonna go get a scholar
to explain it to you."

This is ridiculous!
I hereby knight you,
Frederic--

Ph.D.
Ph.D. of the realm.

Oh, God!
Ridiculous!

No, but the point is this,
Frederic. Listen to me.
Yeah, yeah.

A person has an opinion.
It's only an opinion.
Right. It's only an opinion.

It's never a question
of someone being right or wrong.
There's no right or wrong.

It's an opinion,
and a scholar has a right
to an opinion as any of us.

Wouldn't you say?
But why does he get to speak
directly to the camera?

[ Laughter ]
Oh, that.

I don't really know why
he needed to marry her
historically.

I simply don't know.

Um, it's--

[ Richard ]
Stay, you that bear the corse.

Set it down.
Villains, set down the corse,

or by Saint Paul,
I'll make a corse of him
that disobeys.

My lord, stand back
and let the coffin pass.

Unmannered dog,
stand thou while I command!

Advance thy halberd
higher than my breast,

or by Saint Paul,
I'll strike thee to my foot!

Spurn upon thee, beggar,
for thy boldness.

[ Pacino ]
Now, Richard needs Anne...

because he wants to be king,
right?

So he needs a queen.
Now, Lady Anne
is perfect for the job.

Also, she needs protection.

She needs protection because
she was on the losing side
of the War of the Roses.

She's young.
She has no husband.
Basically, she has no future.

Now, for Richard,
she's someone who would
represent the other side--

the Lancasters--
coming on over to his side.

It would say to the public
that Lady Anne has forgiven him
for murdering her husband,

and therefore exonerating him
from his crime.

And thou unfit
for any place but hell.

Yes, one place else,

if you'll hear me name it.

Some dungeon.

Your bedchamber.

[ Scoffs ]

[ Spits ]
[ Groans ]

I'll have her.

Gentle Lady Anne,
to leave this keen
encounter of our wits...

and to fall something
into a slower method.

Was not the causer
of the timeless deaths...

of these two men,
Henry and Edward,

as blameful
as the executioner?

Thou was the cause
and the accursed affect.

Thy beauty
was the cause...

of that affect.

Thy beauty...

that did haunt me
in my sleep...

to undertake the death
of all the world...

that I might live one hour
in your sweet bosom.

Teach not thy lip
such scorn.

It was made
for kissing, Lady,

not for such contempt.

[ Groans ]

If thy revengeful heart
cannot forgive,

lo here-- here.

I lend thee this
sharp-pointed dagger.

If thou wish to hide
in this pure breast...

and let forth the soul
that adoreth thee,

I lay it naked
to the deadly stroke,

and I humbly beg the death
upon my knee.

And do not pause,

for I did kill King Henry,

but 'twas thy beauty
that provoked me.

Nay, now dispatch,
'twas I stabbed Edward,

but 'twas thy heavenly face
that set me on.

Take up the sword again,
or take up me.

Though I wish thy death,
I will not be thy executioner.

Bid me kill myself.
I'll do it.
I have already.

That was in thy rage.

Speak it again,

and even with the word,

this hand,

which for thy love
did kill thy love,

will for thy love
kill a far truer love.

I would I knew thy heart.

My heart is figured
in my tongue.

Well, put up your sword.

Say, then,
my peace is made.

That shalt thou know
hereafter.

[ Drops Dagger ]

Shall I live in hope?
All men, I hope, live so.

Vouchsafe to wear
this ring.

To take is not to give.

Look how my ring
encompasseth thy finger.

Even so...

thy breast encloseth
my poor heart,

wear both of them,

for both of them
are thine.

Leave these sad designs...

to him that hath most cause
to be a mourner.

With all of my heart.

And much it joys me too
to see you have become
so penitent.

Ha!

Tressel and Berkeley,
go along with me.

Bid me farewell.

Since you teach me
how to flatter you,

imagine that I will say
farewell again.

[ Richard ]
Was ever woman...

in this humor... woo'd?

Was ever woman
in this humor won?

[ Sighs ]

I'll have her.

[ Sinister Laughter ]

But I will not keep her long.

We're never gonna
finish this movie.

It's organic.
It's got to be what is it.

How much more are
we gonna shoot? It's becoming
a movie about a play.

We're making a documentary about
making Shakespeare a little bit
more accessible to people.

Those people out there,
the people on the street,

they're not gonna get
Richard III.

I can't even get Richard III.
It's too complicated.

Michael, why is it Shakespeare's
most popular play?

Why is it performed
more than any other play
by Shakespeare?

I didn't get
that last thing you said.
Who said it's the most popular?

It is. It is.
It's performed more than Hamlet.
So what?

I run before my horse
to market.

Clarence still lives
and breathes.

Edward still reigns.

When they are gone,

then must I count my gains.

[ Richard ]
But soft, here come
my executioners.

Are you going
to dispatch this thing?

We are, my lord,
and come to have the warrant...

that we may be admitted
to where he is.

Well thought upon.
I have it here about me.

But, sirs, be sudden
in your execution.

Do not hear him plead,

for Clarence is well-spoken
and may move your hearts
to pity if you mark him.

Be assured,
we go to use our hands,
not our tongues.

I like you, lads.
About your business straight.

We will, my noble lord.

Go, go.
Dispatch.

Here's a place
for the Clarence scene.

Just get Clarence
very tight in here.

You have all of
the dead pigeon feathers...

and the grotto
and the texture...

of the wall.

Just imagine
that you're pushed in.

It doesn't work.
It just doesn't work.

It's not just the pigeon stuff.
It doesn't work.
It has no sense of--

What are you--
When do we--
No enclosure.

Frederic, it's pointless.

Frederic, you need something
that looks like a--

a place where, uh, Clarence
would be held prisoner.

Yeah.
It's gotta be--
It's a prison.

Aha! See the tower?

It's going to be
in the chamber...

where the--
where the bell-ringing unit is.

Oh, my God!
It's a really beautiful space.

And it's got this shaft
of white light coming down
from the top.

This would replace that.
This is nice.
Nice light.

You would stab him
as he sleeps?

No. He'll say it was done
cowardly when he wakes.

He shall never wake until
the great judgment day.

Faith, some certain dregs
of conscience
are yet within me.

Remember our reward
when the deed is done.

Come he die.

Where's that conscience now?
In the Duke of Gloucester's
purse.

When he opens his purse
to give us thy reward,
thy conscience flies out.

'Tis no matter. Let it go.
There's few or none
will entertain it.

What if it come
to thee again?

I'll not meddle with it.
It makes a man a coward.

A man cannot steal,
but it accuseth him.

A man cannot lie,
but it checks him.

A man cannot lie
with his neighbor's wife,
but it detects him.

And any man
that means to live well...

endeavors to trust to himself...

and live without it.

Come. Shall we fall to work?

[ Pacino ]
Now, while this horror
is going on with Clarence,

his brother, the king,
is in one of the rooms
in the castle...

trying to make peace
with everybody.

[ Kimball ]
They have all been summoned
for the atonement meeting.

That is why everybody
is in the castle...

making peace.

The king's family...

are in incredible conflict.

He dares not die until he knows
that they aren't going...

to pull the whole thing apart
as soon as he's dead.

I every day expect an embassage
from my redeemer
to redeem me hence.

[ Pacino ]
You see, the king really wants
this peace to happen,

because he wants to make sure
that after he's gone,

his two children
will continue the reign.

He and his wife must hope...

that they will.

We know that
you have another agenda.

Strike!

No. We'll reason with him first.

Where art thou, keeper?
Give me a cup of wine.

You shall have wine enough,
my lord, anon.

In God's name,
what art thou?

A man, as you are.

- But not as I am royal.
- Nor you as we are loyal.

Who sent you hither?
Wherefore do you come?

To--

To--

- To murder me?
- Aye.
- Aye.

Wherein, my friends,
have I offended you?

Offended us you have not,
but the king.

I shall be reconciled
to him again.

Never, my lord.
Therefore,

prepare to die.

Hastings, Rivers,

take each other's hand.

Dissemble not your hatred.

Swear your love.

So prosper I,

as I swear perfect love.

And so swear I.

Madam, yourself
is not exempt from this.

Wife of Lord Hastings,

let him kiss your hand.

There, Hastings.

I nevermore shall remember
our former hatred,

so thrive I and mine.

[ Woman ]
Do they really believe all this?

Do they really believe all this
when you say, "Take their hand"?

[ Pacino ]
It's a vow--
[ Kimball ] A solemn vow.

It's a solemn vow.
In this time, that was
a very solemn thing.

I mean, only people
who wanna go to hell...

were willing to make vows
and not keep 'em.

If you are hired for meed,

then go back again
and I will send you
to my brother Richard,

who shall reward you better
for my life...

than Edward will
for tidings of my death.

You deceive yourself.

'Tis he that sends us
to destroy you here.

It cannot be,

for he bewept my fortune...

and swore with sobs
that he would labor my delivery.

And so he doth...

when he delivers you
from this earth's thraldom
to the joys of heaven.

[ Murderer #2 ]
Make peace with God,

for you must die, my lord.

Have you that holy feeling
in your soul...

to counsel me
to make my peace with God?

And are you yet
to your own souls so blind...

that you would war with God
by murdering me?

O, sirs, consider those...

that set you on
to do this deed...

will hate you for the deed.

What should we do?

Relent,

and save your souls.

Relent? No!
'Tis cowardly and womanish!

Not to relent is prudish,

savage, devilish.

My friend, I spy some pity
in thy looks.

Oh, if thine eye
be not a flatterer,
come thou on my side...

and entreat for me
as you would beg
were you in my distress.

A begging prince
what beggar pities not?

Look behind you, my lord.

Is Clarence dead?
[ Queen Elizabeth ]
Oh, no.

The order was reversed?

But he, poor man,
by your first order died.

[ King Edward ]
Have I a tongue
to doom my brother's death?

My brother killed no man.

His fault was thought.

And yet his punishment
was bitter death.

Who sued to me for him?

Who kneeled at my feet
and in my wrath...

bid me be advised?

Who spoke of brotherhood?
Who spoke of love?

The proudest of you all
have been beholding to him
in his life.

Yet not one of you...

would once beg for his life.

O God, I fear thy justice
will take hold on me...

and you and mine
and yours for this!

Come, Hastings.
Help me to my closet.

[ People Chattering ]

[ Woman ]
What is it in theater?
Why do we wanna do theater?

We wanna do theater because
of that personal presence.

West Germany gave
a billion dollars a year--
a billion-- to the arts.

I gave up a TV movie in France
to do Richard III
in Milwaukee.

[ Grunting ]
I talked to my teacher and
he said, "You will benefit."

Kevin Costner did
that TV show.

You lost out.
Look at the career
Kevin has had.

He's afraid to do Shakespeare.
He's not. He's in the
other room practicing.

[ Groaning ]

The "Anointed" Shakespeare.

[ Woman ]
Annotated.
Annotated, yeah.

It's got beautiful pictures.

It's got beautiful pictures.

That's what I like about
Shakespeare-- the pictures.
I love the pictures.

** [ Choir Singing
Indistinctly ]

He's dead. Okay.

Okay.

Well, what are
we gonna do? Uh--

I like it.

What next?
What do you mean
you like it?

[ Man ]
What time is it?
3:30.

What are they doing?
Do you know?

Freddy said something
about burying the king.

Is that in the play?

[ Woman Sobbing ]

[ Pacino ]
Well, here it goes now.
This is it.

[ Kimball ]
This is the crutch.
Now we could say...

Richard is the most powerful man
at this point,

uh, alive.

All of us have cause
to wail the dimming
of our shining star.

The crisis is
are they going to live...

by the words that
they spoke to the king,
or are they not?

Is the peace going to hold?

I hope the king made peace
with all of us,

and that compact
is firm and true in me.

- And so in me.
- And so say I.

Then go we to determine
who they shall be that
straight shall post to Ludlow.

Who is going to go
to Ludlow...

to get the young prince
and bring him back
to the king?

Who's gonna do it?

And Buckingham says,
whoever does do it,

we go along too.

[ Buckingham ] Whoever journeys
to the prince, for God's sake,
let not us two stay at home.

[ Spacey ]
Buckingham decides politically
to align himself with Richard.

And he does everything
in the world for him
in order to help him.

Obviously, you know,
wanting to help himself.

When I am king,

claim thou of me
the earldom of Hereford...

and to all the moveables
where the king, my brother,
was possess'd.

[ Spacey ]
Buckingham is sort of like
the secretary of state.

This guy who went off
like these guys who did
the Iran-Contra stuff...

and did all the dirty work
and propped up the king.

Well, without Buckingham,
there is no Richard as king.

That's right.
He couldn't do it alone.
Mm-hmm.

But, you know,
then they never can.

Shakespeare saw Richard
Gloucester and Buckingham
as gangsters. They were thugs.

High-class,
upper-class thugs.

There's been no influence
here, has there?
No influence.

What is thy news?

- Lord Rivers and Lord Grey
are sent to Pomfret.
- [ Gasps ]

And with them
Sir Thomas Vaughan.

Prisoners.

Who hath committed them?
The mighty dukes,
Gloucester and Buckingham!

You're a pretty smart guy.

I can see it.
I see the ruin of my house.

Insulting tyranny begins
to jut upon the innocent
and aweless throne.

I can see it...

as in a map--
the end of all.

[ Pacino ]
Now what's happened here is you
see Richard and Buckingham...

have betrayed everybody,
right?

They lied. They went to Ludlow
to pick up this prince.

And they were supposed to be
peaceful with everybody.

What they did
is they forced him out
from under his uncle's arms.

And they've stolen this kid.
[ Kimball ]
They're bringing him back.

And what they have really
got there is the throne
of England in their arms.

They got the future.
They got it.

* He's got the whole world
in his hands *

[ Together ]
* He's got the whole wide world
in his hands *

* He's got the whole world
in his hands *

* He's got the whole world
in his hands *

* He's got you and me
brother *
* In his hands *

* He's got you and me
sister *
* In his hands **

Welcome... to London.

We're now having
the first opportunity
since the 1640s...

to actually get a feel
of what Shakespeare's
Globe Theater was like.

This is the very theater
where Shakespeare
wrote his plays,

where Shakespeare acted--
the theater that
Shakespeare owned.

So this is the, uh--
this is the spot?

You say if you stand
in the middle of it,
what happens?

It's like a sounding board.
It's like a resonating chamber.

You can hear how wonderful
the acoustics are.
I hear it already.

[ Pacino ]
Now is the winter
of our discontent...

made glorious summer...

by this sun of York,

and all the clouds
that lour'd on our house...

in the deep bosom
of the ocean buried.

Hi. You working
on this thing here?
Yes, I am.

I've been recording it
since 1980.

You've been recording this
since 1980?
Yeah.

The whole shebang.
Really?

Yes.
And who is this young man?

This is the son
of one of the builders.

[ Richard ]
Welcome, sweet prince,
to London.

My thoughts sovereign.

The weary way
hath made you melancholy.

- I want more uncles here
to welcome me.
- Sweet prince.

Those uncles which you
want were dangerous.

Your grace attended
to their sugared words,

but looked not on the poison
of their hearts.

God keep you
from such false friends.

God keep me
from false friends,
but they were none.

Oh, the mayor of London
comes to greet you.

[ Pacino ]
Okay. Now they got the kids.

They got the young prince
who's gonna be king,
they got his brother.

[ Kimball ] Uncle Richard
has one big happy family.
Yeah. Somebody's gotta go.

My lord, will it please
you pass along myself
and my good cousin Buckingham...

will to your mother
to entreat her to come
and welcome you at the tower?

What, will you go
unto the tower, my lord?

What should you fear
at the tower?
Nothing.

[ Pacino ]
Why has Richard
put them in the tower?

Because he is going
to kill them.

See, in the tower is where
they execute. They chop
people's heads off.

But there's a lot
of rooms up there.

So it can also go
for meetings and different
places like that.

But there is one specific spot
up there where they--

where they--

they do, you know--
do the thing.

The one person who
is in line is a child.

What a wonderful opportunity
for all of us to get
what we want.

Sure. Of course.

In fact, I'll basically
be running the country--

[ Pacino ]
Now one person's
standing in their way.

That's Lord Hastings.

Hastings loves this kid,
the prince.

And he really wants him
to be the next king.

Even though the kid's
in the tower right now,
he believes he will be.

[ Kimball ]
He's tough.
He's a tough guy.

He was the former king's
closest friend.

They even shared
the same mistress--
Mistress Shore.

Who is Mistress Shore?
She's Shakespeare's
device...

to connect Hastings
and the king together.

They share the same woman.
Good idea.

Hastings is really
a great threat to Richard
and Buckingham.

He can stop them,
so they have to stop him.
Yep.

What shall we do...

if we perceive
Lord Hastings will not yield
to our complots?

Chop off his head.

[ Conway ]
What are you talking about?
Richard?

You mean Richard
wear the crown?

I think it's
the only way.

[ Bryggman ]
Think about it.
Let me tell you something.

I'll have this crown--
this crown--

ripped off and shoved
into a cow's belly...

before I would allow
that scum...
[ Laughing ]

to defile the crown
by putting it on his head.

[ Man ] The text is
a means of expressing
what's behind the text.

So that if you get obsessed
with the text--

This is a great barrier
to American actors...

who get obsessed
with the British way
of regarding a text.

That isn't what matters.
What matters is that
you have to,

one way or the other,
penetrate into what
at every moment it's about.

So at this point,
Hastings does not...

take the threat
of Richard seriously?

[ Kimball ]
Absolutely not.

Anything can go on.
You really think
that this guy--

[ Pacino ]
So now we got Stanley--
Lord Stanley--

He's a close friend
of Hastings and he's trying
to convince Hastings...

that they should both
get out of the country...

because Richard is planning
some kind of takeover,
some treachery,

and it's gonna happen
at the council meeting
which has been set up...

to pick a date of coronation
for the young prince.

Now, my noble lords,
the cause why we are met...

is to determine
of the coronation.

In God's name, speak.
When is the royal day?

Is all things ready
for the royal time?

It is, and wants
but nomination.

But tomorrow then
I judge a happy day.

Tomorrow has been prepared
as a great, great feast day
of coronation...

and requires only
that we at this table
say yes.

[ Kimball ]
Now we think that we have been
brought together in this room...

just to rubber stamp
the little prince.

[ Pacino ]
It's a fait accompli. The young
prince is gonna be king.

They're just there to decide
the date of the crowning.

[ Buckingham ]
Who knows Richard's mind
in all of this?

Who is most inward
with the noble duke?

On the duke's behalf,
I'll give my voice,

which I presume
he'll take in gentle part.

In happy time,
here comes the gentle duke.

My noble lords
and cousins all,
good morrow.

I have been long a sleeper,
but I trust...

my absence doth neglect no great
design which by my presence
might have been concluded.

Had you not come upon
your cue, my lord,
William Lord Hastings...

had pronounced your part.

I mean, your voice...

for crowning of the king.

Then no man might be bolder.
His lordship knows me well
and loves me well.

My lord of Ely,

when last I was in Holborn,
I saw good strawberries
in your garden there.

I do beseech you,
send for some of them.

[ Bishop Of Ely ]
Marry and will, my lord,
with all my heart.

Cousin of Buckingham,
a word with you.

[ Conway ]
You remember we talked
the other day about...

a gathering of dons,
in a way.

There's a lot of suspicion
in this room.

I think there's a slight danger
to be in this room.

All of us in one spot.
It's like somebody says, "Wait
in this room. I'll be back."

Or, "Wait in this room."

And it's been like,
"What's going on?"

[ Pacino ]
See, what's going on is simple.
They have to cut out Hastings.

Get rid of him. And Richard
is the only man around
who has the power to do it.

He's royal. He's a York. Only
he's gotta move fast because
this is his last chance...

to stop Hastings from making
the young prince king.

[ Kimball ] They're going
to suck in Hastings by using
his mistress Shore as bait.

Provoke him to say
the wrong thing, and nail him.

[ Pacino ]
Then everyone in the room
is gonna have to make a choice--

either Richard or Hastings.

Where is my lord,
the duke of Gloucester? I've
sent for these strawberries.

His grace looks
cheerfully and smooth
this morning.

There's some conceit
or other likes him well...

with that he bids good morrow
with such spirit.

I think there was never
a man in Christendom
could less or hide...

his love or hate than he.

For by his face,
straight shall you
know his heart.

What of his heart
perceive you in his face by
any livelihood he showed today?

Marry, that with no man here
he is offended.

For if he were,
you would have seen it
in his looks.

I pray you all,

tell me what
they deserve...

that do conspire
my death...

with devilish plots...

of damned witchcraft...

and that have prevailed
upon my body...

with their hellish charms?

The tender love,
I bear your grace, my lord,

makes me most forward
in this princely presence...

to doom the offenders
whosoe'er they be.

I say, my lord,
they have deserved death.

Then be your eyes...

the witness of their evil.

Look...

how I am bewitched.

Behold mine arm...

like a blasted sapling
withered up.

And this is Edward's wife,

that monstrous witch,
consorted with the harlot...

strumpet Shore...

that by their witchcraft...

thus have marked me.

- If they have done this deed--
- [ Shouting ] "If"?

"If"?

Thou protector
of this damned strumpet!

Talks not to me of "ifs"!

Off with his head.

- [ Gasps ]
- Now by Saint Paul,

I swear I will not dine
till I see the same!

Lovel and Ratcliff,
look that it be done.

The rest that loved me,
rise and follow me!

No.

Stanley.

Stanley.

Stanley.

Woe for England.

Not a whit for me.

For I, too fond,
might have prevented this.

Come, dispatch.
'Tis bootless to exclaim.

Bloody Richard!

[ Pacino ]
He was the one fly
in the ointment, Hastings.

So now the path is clear
for Buckingham and Richard.

They got the inner circle.
All the dukes and earls,

they managed
to intimidate them.

So now, all that's left
is winning the people.

[ Spacey ]
Every time there's an election
in this country,

whether it's for mayor
or whether it's for president
or city council,

it's always the fact the people
are tired of the way it's been
and they just want a change.

How now! How now!
What say the citizens?

Now by the holy mother
of our Lord,
the citizens are mum.

[ Spacey ]
I expected their reaction
to be boisterous,

and that they would come
and we'd rally.

And did they, sir?
No.

So God help me,
they spake not a word.

But like dumb statues
or breathing stones,

stared each other on
and looked deadly pale.

And did they, sir?
No.

[ Laughing ]
What, are you deaf?

But I'm saying,
whatever their reaction,
it didn't matter.

We had this planned.
We still had this planned.

So they're being told
that here, right before
your very eyes,

is the man
who's gonna make it better.

And see, a book
of prayer in his hand.

True ornaments
to know a holy man.

Irony is really only hypocrisy
with style.

Here again, we love
Richard's irony in a way.

And the fact that we know
he's as hard as nails...

and that he's only
pretending to be religious.

[ Pacino ]
They saw the canvas
like politicians.

Complete with lies
and innuendoes,

they managed to malign
this young prince...

who is indeed
the rightful heir to the throne.

And they know it.

Infer the bastard thee
of Edward's children.

[ Pacino ]
And they say
he was a bastard.

That his father was a bastard,
Richard's brother.

And it's, uh--
it's an act.

And these people buy it.
It's a complete lie.

[ Buckingham ]
We heartily solicit
your gracious self...

to take on you the charge
and kingly government
of this, your land,

not as protector,
steward, substitute,

or lowly factor
for another's gain,

but as successively
from blood to blood.

Your right of birth,
your empery, your own.

Since you will buckle
fortune on my back,

to bear her burden,
whether I will or no,

I must have patience
to endure the load.

Long live King Richard,
England's royal king!

Long live King Richard!

In the midst of
these noble concerts
and these treaties...

and these diplomatic pacts,
he was saying,

the truth beneath all this
is absolutely the opposite.

The truth is
that those in power...

have total contempt
for everything they promise,

everything they pledge.

And that's really
what Shakespeare's
great play's about.

The reason why Shakespeare
is really important...

is because in the--

I've taken Lady Macbeth
and put her in a rock
and roll context...

where she's
singing the blues.

Which is really
a yin and yang.

Hamlet's like every kid
who's freaked out--

his parents, his mother
his father--

The way that you relive
is to hold...

both points of you
at the same time.

I have them singing
the blues, doing the beat,
doing their thing.

But an American audience
gets intimidated.

They hear Hamlet.
They hear Shakespeare.
It's like--

You must-- You must
get me out of this.

Get me out of this.
[ Chuckles ]

I'm sorry.
Coming here was a bad idea.
It's gone too far.

Take you away
from all this?

I wanna-- I wanna go--

I wanna be the king already.

I wanna be king, Frederic.
Make me king.

Yeah. Yeah.

** [ Choir Singing
Indistinctly ]

[ Kimball ]
As soon as he gets
what he wants,

as soon as he gets Lady Anne,
as soon as he gets the crown,

then the whole thing--
The emptiness of it.

Cousin of Buckingham.

My gracious sovereign.
Give me thy hand.

Thus high, by thy advice
and thy assistance...

is King Richard seated.

But shall we wear
these glories for a day?

Or shall they last,
and we rejoice in them?

Still they live
and forever may they last.

Ah. Buckingham,
now do I play the touch.

Young Edward lives.

Think now
what I wouldst speak.

Say on, my loving lord.

Shall I be plain?

I wish the bastards dead.

[ Spacey ]
Why is it necessary now
to kill them? You're king.

What difference, you know?
Mm-hmm.

It's, uh--
But as long as they live--

What sayest thou now?

Speak suddenly.
Be brief.

You grace may do his pleasure.

Tsk, tsk, tsk, tsk.

Thou art all ice,
thy kindness freezes.

[ Woman ]
Everybody may have a price,

but for a lot of people,
there is a fundamental decency.

It takes quite a long time
for them to reach that point.

The action of the play,
the sense
of exciting movement...

is Richard's finding out
the point beyond which
people won't go.

Say then that I have...

thy consent that
they shall die?

It's an interesting question
about where Buckingham is--

how far he's willing to go,
where he's willing
to draw the line, you know.

It's almost as if everything
that Buckingham does
in the play...

somehow manages to keep
the blood off his hands.
Mm-hmm.

Give me some little breath,

some pause, dear my lord,

before I speak
positively on this.

I shall resolve you
herein presently.

The king is angry.

None are for me...

that look into me
with considerate eyes.

He is bound
to be left alone...

because nobody
can love the king...

beyond the degree
of their own egoism,

or perhaps
their own goodness.

There's going to be a point.
He has reached
Buckingham's point.

The deep-revolving,
witty Buckingham...

shall no longer be neighbor
to my counsels.

But hath he held out
with me...

so long untired,

and stops he now
for breath?

Well, so be it.

When he went away,
did he agree to do it?

Or was he gonna come back
and say I can't, but give me
what you've promised me?

I have a feeling
that he comes back and says,

"Okay. We have to do it.

Let's bite the bullet.
Let's do it."
But he's too late.

My lord, I have considered
in my mind the late request
that you did sound me.

Well, let that rest.

Dorset has fled
to Richmond.
I hear the news, my lord.

Stanley?
[ Stanley ]
Yes, my sovereign.

Richmond is your wife's son.

Look to it.

My lord.

I claim the gift,

my due of promise,

for which your honor
and your faith is pawned.

The earldom of Hereford
and the moveables which you have
promised I shall possess.

Stanley?

Look to your wife...

if she convey letters
to Richmond,

you shall answer.

- What says your highness
to my request?
- Richmond. I do remember me--

Henry VI did prophecy...

when Richmond was
just a little boy...

that Richmond
would be king.

Perhaps. Perhaps.

My lord, earldom of Hereford--
Richmond!

When last I was in Exeter,

the mayor in courtesy
showed me the castle there,

and called it Rugemount.

[ Laughing ]

At which name I started
because a bard of Ireland
told me once...

that I should not
live long after
I saw Richmond.

- My lord.
- Aye, what's o'clock?

My lord, I am thus bold
to put your grace in mind
of what you promised me.

Aye, but what's o'clock?

Upon the stroke of 10:00.

Let it strike.
Why let it strike?

Because that,
like a jack,

thou keep'st the stroke...

[ Imitating Clock Ticking ]

betwixt your begging
and my meditation.

[ Ticking Continues ]

I am not
in the giving vein today.

May it please your grace...

to resolve me in my suit.

Thou troublest me.

I am not in the vein!

Thou disown me
for my general counsel...

and soothe the devil
that I warm thee from.

Oh! Remember this
another day...

when he shall split
thy very heart with sorrow.

And say,
"Poor Margaret...

was a prophetess."

And thus be it so.

Repays me my deep service
with such contempt?

Made I him king for this?

Oh, let me think
on Hastings and be gone.

To Brecknock,
while my fearful head is on.

You stand on brittle ground.
That's right.

Will it last,
or is somebody next week
gonna say,

"Hey, they got a bum rap"?

Let's push the case
of the kids.

The kids have got to go.

Is thy name Tyrrel?

James Tyrrel.

Your most obedient subject.

Darest thou resolve
to kill a friend of mine?
Please you.

But I had rather
kill two enemies.
Ah.

Thou hast it.

Two deep enemies.
Foes to my rest...

and sweet sleep disturbers
are they that I would have
thee deal upon.

Tyrrel.

I mean those bastards
in the tower.

Let me have open means
to come to them,

and soon I'll rid you
from the fear of them.

Say it is done,
and I will love thee
and prefer thee for it.

I will dispatch it straight.

I am so far in blood...

that sin will pluck
on sin.

Tear-falling pity
dwells not in this eye.

Any production of Richard III
I've ever seen,

like the last act of it
starts to really
dribble out for me.

I'm gone.
[ Pacino ]
For me, the last act,

Richard, to me,
is the most accessible...

because it's clear
that Richard has attained
this power now.

He's king,
and he's on the decline...

because as soon as he
becomes king, right away they're
coming at him from all sides.

Richmond is attacking.

This guy Richmond, his family
were the losers in the War
of the Roses in the civil war.

He had fled to France,
and he was there
raising an army...

to come back and get
the throne back for his family,
the house of Lancaster.

[ Man ]
My gracious sovereign!

Now in Devonshire,
as I by friends
am well advertised,

in Kent, my liege,
the Guildfords are in arms.

With every hour,
more competitors
flock to the rebels.

Their power grows strong.
[ Man #2 ]
My lord.

Sir Thomas Lovel
and Lord Marquis Dorset
in Yorkshire are in arms.

Idiots!

Nothing but songs of death?

Take that, until thou
brings better news!

[ Pacino ]
He suspects all the people
around him. He has no friends.

I'm listening.
I'm listening.

March!

[ Richmond ]
Those in arms
and my most loving friends,

thus far into the bowels
of a land have we marched on
without impediment.

And here receive we
from our father Stanley...

lines of fair comfort
and encouragement.

Mr. Pacino.
Ah!

[ Richmond ]
The wretched bloody
and usurping bore...

the spoiled your summer fields
and fruitful vines,

this foul swine...

is now even in the center
of this isle.

- [ Cheering ]
- Every man's conscience
is a thousand men...

to fight against
this guilty homicide.

Then in God's name march.

True hope is swift
and flies with swallow's wings.

Kings it makes gods,

and meaner creatures kings.
[ Cheering ]

[ Coughing ]

Am I dying?
That's what I wanna know.
Am I dying?

When are we gonna
kill Richard?

I have a worse question.
Excuse me.

I have a feeling that--
that your Richard
will have earned his gaff.

And we really ought to begin
to think about some way
to do it.

[ Coughing ]

C-C-Close-- Close the--
Close the door.

You're 98.6.
No, no, no.

Put it under your tongue.
Then it doesn't click.
If I'm 98.6,

then you're
a Shakespearean actor.

"On the 22nd
of August, 1485,

"there was a battle fought
for the crown of England.

"A short battle
ending in a decisive victory.

"In that field, a crowned king
manfully fighting in the middle
of his enemies,

was slain and brought
to his death."

[ Animal Howling ]

[ Richard ]
Pitch our tent here,
even here in Bosworth Field.

I think what is fascinating
when you come to the last act,

to the battle of Bosworth,

the battle itself
goes for very little.

Apart from the,
"My horse. My horse.
My kingdom for a horse"--

apart from that,
it seems to me that the battle
is really the ghost scene.

The ghost scene
is the battle.

[ Pacino ] Richard is visited
in his sleep by the ghosts
of all the people he's murdered.

Give me another horse,
or bind up my wounds.

[ Pacino ]
So Frederic and I decided to go
to the actual theater...

where this play, Richard III,
was performed some
300 years ago.

And this ghost scene
was actually acted on the stage
right here in London.

And we thought we'd rehearse,
and maybe in a rehearsal...

we could get a sense
of those old spirits.

You know,
method acting type stuff.

I always had trouble
with this speech.

It shows it's good
when an actor has trouble
with a speech...

and he just goes in there
and tries to do it.

Well, I've heard you talking
about Richard...

as a man who cannot find love.

And a person who finally
in the last scenes knows...

that he does not have
his own humanity--
that he's lost it.

[ Woman ]
Tormenting dreams!

That he has let the pursuit
of power totally corrupt him,

and that he is alienated
from his own body
and his own self.

[ Richard ]
Dream on bloody deeds
of death.

Where are my children?
Toad!

[ Richard ]
Despair. Despairing. Death.

- Give me another horse.
- Where is thy brother Clarence?

- [ Queen Elizabeth ]
When didst thou sleep?
- Give me a horse!

- Give me a horse!
- [ Queen Elizabeth ] But thou
didst kill my children.

- Despair.
- Remember.

- Bind up my wounds!
- Bloody Richard!

[ Gasping ]

Soft. I did but dream.

Soft.

I did but dream.

O coward conscience,

how does thou afflict me.

The lights burn blue.
It is now...

dead midnight.

Cold fearful drops
stand on thy trembling flesh.

[ Sighs ]

Richard. Richard.

What do I fear?

Myself?

There is none else by.

Is there a murderer here? No.

Yes, I am.

Then fly.

From myself? No.

No.

I love myself.

Alas,

I hate myself...

for hateful deeds...

- Guilty. Guilty.
- committed by myself.

Guilty.

I am a villain.

I am a villain.

Yet I lie. I am not.

Fool, of thyself
speak well. Fool.

Do not flatter.

I shall despair.

There is no creature
loves me.

When I die,

no soul shall pity me.

Wherefore should they--

Since that I myself...

find in myself...

no pity to myself.

[ Ratcliff ]
My lord.
Who's there?

Ratcliff, my lord.
'Tis I.

Well, get out of here.
I'm working.
[ Coughing ]

You got it.
Well, let's try it
one more time.

Catesby, my lord.
'Tis I.

Catesby.

The early village cock
hath twice done salutation
to the morn.

Your friends are up,
and buckle on their armor.

Oh, Catesby.

I've had a fearful dream.

Catesby, I fear.
Nay, nay, good my lord.

Be not afraid of shadows.

By the apostle Paul,

shadows tonight
have struck more terror
in the soul of Richard...

then can the substance
of 10,000 soldiers
armed to proof...

and led by shallow Richmond.

Come. Come with me.

The silent hours steal
on and flaky darkness
breaks within the east.

[ Richard ]
Stanley, look to your wife.

If she convey letters
to Richmond, you shall
answer it.

Prepare thy battle
early in the morning...

and put thy fortune
to the test of bloody strokes
and mortal-staring war.

You have to give a speech
in half an hour.
Yeah.

Maybe we should--
No. I got the general gist.

Oh, thou, whose captain
I account myself,

look on my forces
with a gracious eye.

Put in their hands
thy bruising irons of wrath...

that they may crush down
with a heavy fall...

the usurping helmets
of our adversaries.

What shall I say more
than I have inferred?

Remember whom you are
to deal withal,

a sort of vagabonds,

rascals and runaways.

A scum of Bretons
and base-lackey peasants...

whom their o'er-cloyed
country vomits forth...

to desperate adventures
and assured destruction.

Make us thy ministers
of chastisement.

You, sleeping safe,
they bring to you unrest...

you having lands and blessed
with beauteous wives,

they will restrain the one,
disdain the other.

And who doth lead them
but a paltry fellow.

To thee I do commend
my watchful soul.

Ere I let fall
the windows of mine eyes.

A milksop,

one that never in his life
felt so much cold...

as over shoes and snow!

O defend me still.

Let's whip these stragglers
over the seas again!

Lash hence these
overweening rags of France!

These famished beggars,
weary of their lives!

If we be conquered,

let men conquer us,

not these bastard Bretons!

Shall these enjoy our lands?

Lie with our wives?

Ravish our daughters?

Hark! I hear their drums!

Fight, gentlemen of England!

Fight, bold yeomen!

Draw, archers.

Draw your arrows to the head!

Spur your proud horses hard...

and ride in blood!

Amaze the welkin
with your broken staves!

[ Groaning ]

My horse!

My horse!

[ Hastings ]
And in a bloody battle,
end thy days.

Despair and die.

[ Grunting, Shouting ]

- [ Man ] Rescue! Rescue!
- They've withdrawn.

See? They're deserting.

- A horse. A horse.
My kingdom for a horse.
- My lord!

Withdraw, my lord. Withdraw.
I'll help you to a horse.
Slave!

I've set my life upon a cast!
I'll stand the hazard
of the die.

There be six Richmonds
in the field. Five have
I slain today.

My lord!
[ Screaming ]

[ Older Woman ]
Although he's
frightfully clever,

he is at the same time
like a kind of boar...

who has subsumed into himself.

All these frightful
animal images.

And all that all
the rest have got to do
is to hunt the boar.

And that's what they do.
And they get him.

A horse!

A horse!

My kingdom for a horse!

He was a hearty dude.

Like in the end,
you know, he's surrounded.

He just goes he'll give up
anything for a horse.

I mean, this guy's rich.
He's a king and
he needs a horse.

My kingdom for a horse.

[ Arrow Pierces Flesh ]
[ Groans ]

[ Grunting Softly ]

[ Screaming ]

[ Sighs ]

I didn't mean it.
I love you, Freddy.

I didn't mean it.
I didn't mean it.
[ Laughing ]

[ Pacino ]
He didn't mean it. And you
kill me after all I did for you?

Richard's dead.
Richard is--

At last, we can rest.

God and your arms be praised,
victorious friends.

The day is ours.
The bloody dog is dead!

[ Shouting ]

Is this it?
I hope so.

Are we done?
Are we finished?
This is it?

If I told him about
that other ten rolls of film,
he'd wanna use it.

I love the silence.

I love the silence.

After silence,
what else is there?
What's the line?

We missed the silence.
The silence is--

Whatever I'm saying,
I know Shakespeare said it.

[ Kimball ]
Our revels now are ended.

These, our actors,
as I foretold you...

were all spirits
that melted into air--

into thin air.

And like the baseless fabric
of this vision,

the cloud-capped towers,
the gorgeous palaces,

the solemn temples,

yea, all which it inherit...

shall dissolve.

And like this insubstantial
pageant faded,

leave not a wisp behind.

We are such stuff
as dreams are made on.

And our little life
is rounded with a sleep.

** [ Choir Singing
Indistinctly ]

** [ Continues ]