"This way, darling." "Can you Lean forward?" "Come on, you guys..." "Get back, you've finished!" " Come on, Nicole..." " Nicole!" "How they talk!" "It's so rude." "Unbelievable." "They didn't know anybody's name except Nicole's anyway." "It's just a feeding frenzy." "'I'm not the kind of director 'who reads a book and sees scenes or shots." "'I just read the book like everybody else." "'People might say things to me Like," ""it's so great you're doing Portrait of a Lady," ""I can't wait to see what you do with it,' 'and I'm thinking, 'Yeah, I wonder what they mean.'" "'I gather that they're expecting me to do something kind of... 'very surprising, 'and I'm not thinking anything surprising." "'And I'm thinking, 'Maybe I should be thinking something surprising.' 'l guess I'd better start thinking about it slightly more seriously." "'The inspiration really came to me when I was at the hairdresser's." "'I just suddenly felt incredibly inspired." "'Fortunately, it was a colour job so it took a while, 'and I had enough time to completely get into it." "'I started to realise 'that Isabel was somebody I knew at a very intimate Level." "'That Isabel was, like myself, a romantic addict." "'When I was young, falling in love, 'l very seriously did a huge con job on myself." "'Occasionally, with most unsuitable people." "'And it was a great revelation to me 'that I knew her on such a close and personal basis, 'that I felt such permission to get in there and play with her 'and to be involved in James's story... 'very playfully, and at the same time very seriously and dangerously.'" "'Isabel is in an emotionally abusive relationship, 'and so the things that, as an actor, you have to use to create that, 'it's very intense and it's very upsetting." "'There's deep shame, in a way, 'and humiliation, because you're being put through these things 'that are very hard to..." "allow to happen to yourself." "'You're working at a pitch that is... 'something that's very hard to sustain 'and a lot of the time you don't want to sustain, 'so you've got to battle that within yourself as well.'" "Isabel up." "Roll camera!" "Action." "If you are trying to humiliate me you've managed it beautifully." "'The actors know that support is in place." "'They can go a bit crazy, throw themselves around, 'that's gonna be understood 'and they're gonna be protected.'" "Oh!" "'Isabel is still Looking to recover the Love of Osmond." "'She's desperate to be loved, 'and to be Loved by someone as difficult as him 'maybe for her, in some strange way, is a real satisfaction." "'There's something perverse but very real, 'and Nicole has to touch that in herself or go to those places." "'And there's both the sense of success for her in doing that 'and a fear that she's in that very uncomfortable place where Isabel is.'" "When I come into your room I always knock." "I forgot." "I had something else to think of." "My cousin is dying." "He was dying when we married." "He'll outlive us all." "I must see Ralph before he dies." " I shall not like it if you do." " You won't like it if I don't." " Your cousin is..." " You won't like it if I do nothing." " That's upset." " Oh, right." "Well, do it." "I mean, it's basically that thing where you go..." " 'l can't do anything...'" " Anything right." "Anything." "It's always wrong, you know?" "It's always..." "Can we have complete quiet, please, just to help us." "You're going to see Ralph, he's about to die." "Got to go, and he's... he's laughing, saying he's not dying." "He's fucking you up in the head." "Mm, yeah." "John, can you just run the last...part of it?" "The bit where before she says, you know... 'l have an idea of love...'" "'We've never made a film which is so complex dramatically, 'in terms of relationships." "'Every scene is quite difficult, 'but I've got skills now to feel I can handle it." "'I was too intimidated by actors really to have considered it before.' just sometimes you're in on it and sometimes you're not." "That's how I describe it." "It's not, I suppose, as I see john Malkovich, maybe because I know you know acting but when you're in him then I see all Osmond's motives, you know?" "Play with her, toy with her, you know?" "You keep saying that like I'm not doing that." "What I don't understand, is there something you're not getting?" "I try and say everything I think," "I always do, so you know there's no hidden stuff there." "I just don't know what to do now." "I'm not getting..." "No, no, no..." "You often feel like this when you're doing good work." "Have faith, OK?" " I need a telegram." " Telegram, please!" "I know, you're just really anxious." " Very Lost." " Good." "OK." "Just think about Ralph and you've got your telegram." "I'll Leave you in there." "Cut!" "Let's go again." "Good." "Thank you, we'll go again!" "'I'm thinking, is there room to go Further?" "'Where should I be encouraging her to explore next?" "'I'm watching her to see what the Little signs are 'about where she might need to go 'and what encouragement or support she may need from me." "'A scene like that is pretty extreme 'because she has to do it many times.'" "Nicole, just try one where you..." "It's interesting when you start to listen to him." " Come around more." " I'm very..." "Yeah, you've been converted." "Yeah." " Like, all your actions...yeah." " Gone..." "Your fight's gone, yeah, out of you in a way, you know?" "Quick brush, please." "It's good sometimes, it's good." "OK, get out of that, though, and be here for all the rest of us." "That's it." "OK?" "Good." "John?" "We'd just like to try a couple more because we think that maybe we have some really strong stuff." "It's all, you know, interesting." "What's Osmond doing to her here?" "He's trying to keep her from going." "And trying to get her to keep faith in the arrangement they have." "Yeah." "To...gain control over her?" "Regain it or...?" "You know what I mean?" " Well, I wouldn't worry about that." " Fix her up..." "Only because then..." "If you have an objective like that, that's what you see." "Just to get her to not feel bad, and the action takes..." "Mm." "Yeah." "OK." "just go with your instincts." "Again, maybe at times a little bit too figured out or controlled to notice things are a bit..." "Yeah." "No, you don't want to..." "No, just..." "It's not that, I don't mean that, but it's just Like..." "you just can't act like it." "You know, you've got to be there." "Feel for Isabel, life is complicated and really hard." " Just go through it, OK?" " I'm keeping it together." "Yeah, you're doing really well." "Thank you very much." "Stand by to go again!" "Roll camera!" "You are nearer to me than any other human creature and I am nearer to you." "It may be a disagreeable proximity, but it is one of our own deliberate making." "You don't like to be reminded of that, I know." "But I am perfectly willing because... because I believe we should accept the consequences of our actions." "And what I value most in Life is the honour of the thing." "Cut." "That was really good." "Yeah, very good." "OK." "John?" "Shall we check it?" "Thank you very, very much." "Thank you very, very much." "'I've never had a Film where I've had to..." "'You know, you do 25 takes over and over again, 'so you have to be able to constantly reproduce it." "'And particularly with the way she moves the camera a Lot, everything." "'Sometimes people get it, sometimes they don't, 'so as an actor you have to be emotionally present each time." "'Some days you come in and just don't wanna go here 'and I'd fight Jane on it and she'd say that you have to, 'and she'd really push me, times when it's just not there," "'I don't feel anything, I feel dead, I can't feel anything, 'and you get more and more agitated and everything kind of shuts down." "'Breathe, breathe and relax, and it is there." "'So much of it is about being relaxed so that it can...surface.'" " Now you're being..." " Smiling?" "No, she's got to be crying." "That's what I'm trying to get away from." "Is that what you're trying to get away from?" " There's no getting away from that." " Now Monty's worried." " He's not worried." " No." "I keep asking Jane, do you think everyone's going to want to shoot me because I cry all the time?" "I don't know, I mean it's..." "Who knows?" " Well, I..." " Monty!" "No, come on, guys, she's going through an incredibly hard, difficult time in her life." " Monty's Looking nervous!" " It's going absolutely fine!" "Well, he's going..." "If it's a particular scene it's fine." " Yeah, come on." " That's all I've seen." " Every time it works." " It works." "You've got to be bold about these things or you're fucked." "Once you've rehearsed and stuff you have to switch off because if you listened or knew why it took so long, you..." "One could become homicidal." "So I found very early, frankly, because I have a very bad temper and because I'm not... so easy with the people I work with er, it's better if I just shut off." "If it takes 10 or 45 or three hours to turn around and shoot the other side of a scene," "I Learned very early on not to ask why." "Er, best not to ask why." "In 25 films I've seen it change from a sort of infuriating pace, which it already was, to a pace that's absolutely..." "In every film I've been on, don't get me wrong, I screamed at Storaro." "'How old are you?" "How many movies have you made?" "'Do you think that's a Caravaggio painting?" "'" "No, of course you don't wanna rush in and shoot a movie that Looks like a porno movie that's out of focus, but think of all the time we'd take..." "He'd stop." "So..." "It can't always be harmonious and you rarely have a good time," "I mean, is my experience of the movies." "Er, that's not what they're about." "I mean, one would hope they were and you kind of wish they were and people outside think it is but I think there's a reason it's a job." "And...you get paid a Lot." "Half the people who do it don't have families, don't have a life, they're completely crazy, and they have a kind of, quite a sad, unstable life, frankly." "That is nice." "That's nice." "Cut." "Good." "'I do like Osmond." "'I really appreciate a sophisticated villain." "'They power my fantasy world, just as much as... 'l may sense myself to be Isabel," "'Isabel fantasises about men like Osmond and so do I." "'I'm interested in that sort of thing," "'I'm very interested in Osmond's power, 'and you can feel it as it's embodied in john Malkovich." "'He has got a very staggering impact.'" "'Many times, directors do think you're a character, 'but if you do 500 characters then who are you?" "'People say, 'You always play a psychopath," ""or someone sophisticated, or someone involved with sex," ""or a pederast, or you always play this or that.'" "'No, I don't, in fact." "'But the things people remember are the things they remember.'" "I feel great." "You were crying?" "Oh, no." "I'm gonna go back." "Oh, I know." "I know." "It's scary." "When Nicole's son saw me he burst out sobbing." "That would be a lot of children's reaction to me as a clown." "John..." "I'm absolutely in Love with you." "Again." "I'm absolutely in Love with you." "Whisper." "I'm absolutely in Love with you." "OK, cut." "'I'm unsentimental." "'I'm pleased John's gone because his scenes are Fairly heavy." "'I appreciate what he did with Osmond and how he was around the place." "'He was very generous to me and so open about anything." "'There's no reason anyone should be amazed anyone's co-operative, 'but john really feels 'he's sitting on a bit of a slow volcano all the time, 'so I guess I appreciate the fact that he doesn't abuse that.'" " Cut." " You can't take off the shoes." "They're secure, that's good." "My coat shouldn't have been buttoned." "Who buttoned it?" "It wasn't in the rehearsal, honey." "It wasn't..." "We couldn't open it." "Let's just relax here for a moment, get some cool air." "She taking these shoes off?" "Somebody pull my socks up." " Not you, director." " I'd Love to, it's just my job." "I hope I don't need another hip operation." "Who'd pay for it?" "Let's concentrate on the scene." "Shelley?" "Your director's talking to you now." "What I want you to do is talk to her... 'l couldn't tell whether she was really in pain, 'stressed because she was distressed about the work she was doing." "'I felt most uncomfortable about pushing an actor 'who really might have some physical problem." "'But I was advised that was more of a fantasy and she likes to be pushed.'" "Ros, hold the fucking thing." "'It doesn't suit my personality to bully, particularly." "'That's not how I work best with people.'" ""- terrible headache..." " Calmly, calmly." " Somebody else can get it!" " Ros will put your coat on." "She can't do it all at once." "Now, Shelley, listen to me here." "Calm right down, we're gonna concentrate on this." "If you waste your energy on that you won't be able to do this." "All right?" "So is everyone out there very calm, OK?" "And concentrating, focusing, just like we do before we go on." "Thank you, Shelley." "Stand by!" "Do it again, you didn't give a second action." " Cut!" " Nobody said second action." "All right." " Gotta have a second action!" " OK, Shelley." "'After a while I stood back, I knew we weren't getting it." "'I'm panicking inside and thinking," ""Maybe we can cut this scene." "I don't know."" "'This is always...sorting out problems with the..." "'You know, Shelley's performance was making it impossible 'to put it together.'" "Thank you, everybody, can we all just take five?" "Thanks." "Everyone take five." "Hi, I'm Monty, the producer." "Hi, Shelley, how are you today?" "Great." "You know, Jane and I are concerned about your health..." "I'm concerned too." "We don't wanna upset you, we're here because we're worried about you." "What do you suggest?" "Well, I think it's really more for you to - it's your decision - for you to tell us what you feel, cos we don't really know." "You didn't know and we didn't know it would be so hard for you..." "Let me talk to my agent about it." "'We're left with two choices." "'One was to recast, 'and the second one... 'was to try and figure out a way that reduced the stress." "'Basically, have a sit down.'" "When you come at the beginning everybody's all fresh and friendly, then when you come back in the middle like I have, having had a break," "sort of like battle lines are drawn." "There are obvious divisions between which people are getting on and which people aren't." "Although we like to pretend that we're all one big happy family." "That's an anachronism for a start because certainly mine wasn't." "'There's a slight amount of battle fatigue.'" "If they're all like this," "I'm not gonna give you the fucking chance to work again." "You're the one who's pushing it." "Hurry, hurry, hurry, hurry." "It's a fucking tricky shot and you won't just let me do it." "All this morning I have backed off, right?" "Never said a fucking thing." "Everything breaking down." "I heard that the scenes with john Malkovich that were all domestic violence scenes were very, very heavy and people sort of dreaded going in." "It's like my neighbours arguing." "It sounds like people being murdered and that's what it sounded Like, especially when Barbara had a fit with the doors." "It sounded so hateful and ugly..." "and frightening." "And you'd hear this again and again all day." "It's not just an hour, in real time, you hear it happening all day." "It's a difficult time now because they're halfway there, done seven weeks." "And there's still seven weeks to go." "See, I'm the video assist and I'm the bottom of the hierarchy, you know?" "And...so it tends to work its way down and eventually... land on me." "'When it's really tense 'you've got to make sure you don't do anything wrong, 'because when they snap they snap harder, you know?" "'" " ..as those go up..." " Yes, yes..." "Today I've almost recovered but yesterday I was in a black hole." "All I could see was... work." "'Overall experience of this film is it's very long." "'I knew it would be and I thought that was good 'but now I don't know." "'Very taxing, very hard." "'Almost every scene is a challenge for the actors 'and a challenge for them is a challenge for me." "'I'm working 16-hour days, and so it's about a 75-hour week." "'Then you're asked to work an 85-hour week 'and you just go 'Fuck off."" "just sort of 'phhht', you know?" "'I've got a daughter now and she's just a baby, 'so it's sometimes scary, trying to have enough time with her 'to feel like I'm doing any kind of mothering." "'And also that I'm doing the work well enough to satisfy myself." "'I'm pushed into the situation of having to do a six-day week." "'I start to panic because I'm not being with my baby - at all." "Where's the ball?" "Do you know where the set is?" "It's a time machine." "Hello!" "'It's a bit of a weird world, film-making, 'because of the intensity of the experience, 'it does create you in a very strange way." "'There is a sense of emergency about every day." "'Maybe as each day costs $100,000, maybe more, 'which means that certain behaviours 'which aren't acceptable within normal, social, polite discourse 'become OK." "'It's a sort of Lowering of the general bullshit." "'You're so directed in what you're trying to do 'that it's kind of clean, you know?" "'The way we talk to each other can sound incredibly rude 'but I sort of like that bluntness 'cos I'm the queen of the scene 'and everybody's interested in what you have to say." "'That's not normal.'" "Playback!" "I've got my second wind now, you go through up... and you...work that, and then you get some more energy." "A friend of mine was asking what I do in a working day, and I said, you spend most of your time in a cubby-hole like this, you act a bit, then back in." "'For the most part people tend to assume 'that the Life of an actor is a kind of high-octane... 'that there is something exceptionally exciting about it.'" "Jane never uses actors again after..." "Altman or someone always gives me a gig." "You know, this is it, my one chance to be in a Jane Campion film." "Take it or Leave it." "So pathetic, isn't it?" "You spend your Life as an actor saying," "'Please give me a job, please buy my arse.'" "What?" "!" "No kicking!" "OK, no kicking, Shelley." "I didn't shave my legs." "I'm not going steady so there's no reason to." "Shall we shave my...?" "All right, that's beautiful." "ls everything covered up?" "I don't want to do a..." "what's her name?" "Sharon Stone." "All right, here we go." "The way that..." "line." "Let's try it again." "I've never had this problem before." "You haven't got a problem, you're doing so brilliantly." "Don't you dare get down on yourself when you're doing so well." "OK?" "Here we go." "# Full fathom five... #" "Right, so Let's lighten up a bit." "We're doing extremely well." "Isabel feeds you in and you're gonna say" "'While I was waiting for her to interfere you were marching away.'" " And then 'Ow!" "' after." " OK." "Thank you." "Roll camera." "Ahh, Elizabeth, go over there." "You're in black and I'm..." "I'm so fucking unconcentrated." "And concentrate, Let's go!" " Where from?" " 'Couldn't have prevented it.'" " She couldn't have prevented it." " She can do anything." "While I was waiting for her to interfere you were marching away, and she was really beating the drum." "He has no..." "Ow!" "He has no money, he has no name." "He has no importance." "I value such things, and I have the courage to say it." "Well done!" "I bet Harvey Keitel never forgot his Lines." "He's got a pretty good memory." "L-l-l do them upside-down, inside-out..." "Excuse me." "There's nobody that hasn't forgotten their lines in this film." " You know?" " I don't know..." " Can you Leave yourself alone?" " OK." "Whenever you play a character who does something villainous, or is considered a villain, that you're almost like a defence lawyer, defending the character as the actor." "'Someone said to me, I showed her my rotten teeth," ""That's because of the venom that comes out of her mouth.'" "'And I was sort of shocked 'at the desire of people to see her that way.'" " Black." " That's the rotten one." "It's gone too rotten now, though." "It's so awful, me blowing my nose, when I'm wearing a veil." "I hated that preview of the book." " He called her a wicked witch." " Eh?" "He called her a wicked witch in that preface of it." "But that's just..." "That's true, I think, what I'd call the fable aspect, a fairy tale quality to it, but then he just prefaced the book." " Yeah..." " Anyway." "'You don't know what you're gonna get." "'Some days I don't go near her because she's dealing with things." "'Other days I can see a welcome sign in her." "'Because I'm not the Lead and it isn't a one-on-one relationship, 'l try to be sensitive to how pulled she must be in so many directions." "'She'll be in a mood and be there for you or she won't." "'You're dealing with a real person." "'She was doing a scene with Ralph and I said, 'How'd that go?" "'" "'And she said, 'It was great working with a character who's a real human.' 'l was very hurt, I just walked away." "But I knew what she meant.'" "Really spook her if you can." "Really." "Who are you?" "Oh, you take it like that." "What have you to do with me?" "Everything." "'Nicole in the beginning was enormously friendly, 'and we had these scenes of friendship." "'Now there's this little distance 'and I feel 'Oh, because I haven't been around,' 'but it's also the scenes we're doing together." "'I noticed that a Lot, that actors get a dynamic with each other." "'It's just because it helps you in the scene.'" "Read this scene between her and Madame Merle." "As much as she's changed and become all nice there's still that thing and it's very apparent when you read these scenes about Madame Merle still having to come out... with something intact." "Instead of her just being a broken woman and..." "Being kind to you?" "I don't think it is kind, it's complex." "I'm not convinced it's the best path for our movie, because there's no pay-off for it." "But do you like 'He made you a rich woman'?" "Yeah, I do." "I think that's good." "Much more complicated than being just rich." "Yeah." "'Nicole was just talking about one Line, 'like, you made me, he made you rich." "'In the book it's 'He made you a rich woman."" " OK." " Which I like." "Much more complicated than just being rich." " You like that?" " Yeah." "OK." "To me, her giving her this information, it's setting her free to be more..." "to do the right thing." " More real with Ralph." " Yeah." "And with Pansy and with defying Osmond." " Urn..." "You know." " Yeah." "But it's also a little bit of an excuse." " Sure, yeah." " See, she's also..." "We're just finishing talking." "Shall we just run a rehearsal for it now so we can get out of the cold?" "OK, but I just want to say, she may never see her daughter again." "So it's like...time's running out." "Mm, yeah." "It's good to hear you say all that stuff." "OK." "You're right, as far as Madame Merle goes she's got this other agenda which is..." "You know, she thinks she's supplying you with the information needed for you to set yourself free." "I'd like to say 'He has done me many services.'" "You know, to come back at her, so I'm not just standing listening." "Go on, then, try it." "And action!" " I'm just trying to help." " You are." "Tell me to shut up." "Don't shut up, I like it." "'It's what you pray for, 'you find yourself thinking different thoughts." "'When it happens to me I don't know what's happening, I just feel it." "'It doesn't always happen, but it's happening a lot in this one." "'Especially her alone-ness.'" "'It's really hard to explain, your cousin once did you a great service." "'Have you never guessed it?" "He made you a rich woman.'" "It doesn't have the power of 'he made you rich'." "Just like there's, Like, all that stuff Leading up to it, you know?" "It's not as powerful." "I'll do it, but I wouldn't..." "The only thing I think is that," "I thought about it and re-read it in the book, that a rich woman is more complicated." "Yeah, I understand that, I'm talking in terms of..." " Yeah." " Whatever you think." "I know what you're saying, too." "Why don't we just do it both ways, then we can choose." "'l have Jane, 'and I know that if I go too far or step over the Line, 'because she pushes people over the edge sometimes, 'l trust her that she'll Leave that out." "'I can take chances with her, but that's a rarity.'" "Sorry, Jane, can I do it one more time?" "Roll 55, take four!" "It's hard to explain." "Your co...your cousin once did you a great service." "Have you never guessed it?" "He made you rich." "Yes, come on, now." "We come in with a hot water bottle, towel and jacket." "Have it always on ready for her." "Do you want me...?" "Do you want me tom?" "'He made you a rich woman' this time?" "I don't mind, you can..." "'He made you a rich woman.'" "I like 'He made you rich' for the same reasons that you do." " It's kind of like a tear somehow." " Yeah." "Just show it to me, you say..." ""I'm very...' I'm sorry, I'm very cold." "'You're very unhappy, I know.'" "'You're very...' It's OK." "'You're very unhappy, I know.' 'l found I wished to wait for you.' I'm having trouble with the words." "'I found I wished to wait for you.' This is like the last moment and..." "But you've done it the other way and it was nice." " I haven't." " You have." " OK?" " Huh?" "Yeah." "I'm with you, I just can't quite be where you are." "I understand you have to be like this for Madame Merle." "You have to be up there to do the scene." "Just be there." "'It's hard to just let go by yourself." "'That's why actors like directors." "'Like, if you've got someone saying, 'Yes, do, let go, I'm here," ""you know, I will be here for you.'" "'Maybe everyone fears Letting go 'and each time there's the potential 'that this time I will expose something extraordinary." "'Maybe that's a myth 'but that's a prevailing myth-hope of the actor-director relationship.'" "You're very unhappy, I know." "But I'm more so." "Cut!" "Between that and that earlier very good one, it was good." "Well done." "Do you think you have it?" "Oh, yeah." "The other one was on, you know?" " Yeah." " And we just covered it." " This one felt..." " I liked this one." " I liked the end." " The backing off?" "The lines are very good and the end." "I do, too." "It felt honest for the first time in 20 takes." "Yeah, yeah, I know." "Is this warm?" "No, it's wet." "Have we got any dry ones of these?" "Got any dry towels?" "I was determined not to complain, but a lot of people were joking and stuff and it was hard cos it was so...hard." "And I was the only one going through that extreme thing, of the cold." "So I felt..." "Again, though, it's what she's feeling." "You know?" "So while I'm feeling it I'm not taking it that seriously." "It's so strange." "I just left myself alone in these scenes cos I'd thought about them so much before and I just left myself alone." "I feel..." "It's just so incredibly ironic that... that when she finally tells the truth she's alone." "You know?" "It's that weird thing, the pressure's off now, now I have no more Lines." "It's just this blue screen thing, and sort of I've been waiting for that moment." "That's when I feel really good, it's all behind me and suddenly..." "Hmm." "Hello!" "Don't film this, it's gonna get ugly." "All that pent-up frustration about things people have done, it's gonna explode!" "So we're getting all pepped up for a funeral here today." " What happened since I've been away?" " Loads." " Oh, what?" " 'Oh, what?" "!" "' ls Shelley here today?" "You had another party?" "Shelley's in New York." "She's sick, not feeling well." "We have to have one like this." "No, that's too corny." " How about this?" " Masculine and masterful?" " My legs are getting purple." " Are they?" " Yeah." " They are too." "I wonder, do Scotsman wear undies?" "Yes!" "'l should call her and say we haven't..." "'I'm completely confused about what's going on with Shelley." "'We couldn't do your scenes so we've moved on." "'We don't think it's worthwhile now.'" "So you're bearing up, you're on four months of your movie?" "You get used to it in a way, and..." " Yeah." " And you kind of..." "You Look so chipper, it's amazing." "It's an intense way of Living and there's an attraction to that." "You're quite right." "On the other hand, I'm not Living my life, I'm Living the film." " How's the kid?" " She's divine." " You're seeing her?" " Not as much as I want to, but it's not tragic." "Shh!" "You say action, Mark." "So they've whizzed me up, 'force majeure' this company said," "'Got to have Grant up here today.'" "I'm only supposed to work Monday, to do my sex fantasy scene with Nicole." "Looking forward to it?" "Ooh!" "I'm surprised I've got clothes on." "You know, I thought sex fantasies had to..." "Maybe I just run a finger up a stocking, like old Harvey did." "I'm hoping I have something to do." "You can be on the other side!" "I'm wearing a corset so I can't feel a thing." "OK, thank you, Martin." "What do you mean, I just go 'Ohh'?" " Just enjoy it." " Uh-huh." "What's the point of having a fantasy if you don't like it?" "Richard, stop that!" "Yeah, these two are clear too and they're off." "That's ridiculous!" "Tell me what we're doing." "These are..." "I got these ideas from seeing Victorian albums of a picnic." "Everyone gets out like this and half the people are out of the shot." "Anything for you, Jane." "Thank you..." " No, no!" " Hop off, hop off." "OK." "We are saying goodbye to Barbara." "That was her last shot." "So, bye-bye, Barbara." "'You want it to end, you're tired, 'and you want to go on with your life, 'but on the other hand you don't want it to happen." "'It's a relief not to have to deal, for four months, 'with such awful treachery and pain, 'and it dominates your feelings when you play a character like that." "'I guess she'll always be there in me, 'that's where I found her, but I'm not sorry to let her go.'" "'You go back to your life, your normal life, 'and somebody says to you, 'Haven't seen you for a bit, how's it going?" "' 'and you think, well, you feel like you've been through an earthquake." "'You Lead a very privileged, kind of cocooned existence, 'and suddenly you go home and have to change back into, 'you know, laundry and meals and shopping.'" "'l feel sad, 'but I also feel that I gave everything I could to the film, 'so in that regard you feel, you know, it's sort of cathartic." "'Playing a character like Isabel, 'it's something you don't want to throw away 'because she's so wonderful." "'My biggest fear is that Jane's gonna get in the editing room and go," ""What was I thinking?" "Nicole is abominable in this role!" "'" "'She says this isn't going to be the case, but I still have that fear.'" "'It's been such an amazing journey, 'such an amazing experience.'" "I can't even describe it." "Every now and again I'm overwhelmed with emotion... and I don't know what it means." " I know." " just emotion, you know?" " Mm-hmm." " Like exhaustion, like love..." " Yeah." " You know?" " Extreme emotions." " Extreme...feelings." " You know, just sort of..." " Mm." "All sorts of things." "Great, funny, you know?" "Mm." "'Saying bye to Nicole is saying bye to Isabel for me." "'I find it hard to separate them." "'Sometimes it's even hard to accept Nicole as Nicole, not as Isabel." "'Sometimes when she goes out and she's got her hair all Hollyvvood-ish" "'I'm Looking For Isabel in there 'and it's pretty hard for me to say no, that's Nicole, 'because I want to engage her in some serious Isabel-y talk." "'That's in Nicole as well, but it's not all there is." "'I'll get mad at her and want to have a talk 'and just say, 'Don't abandon Isabel.'" "'Like I want her to be Isabel forever now." "'I am Isabel and I think every woman on this film thinks the same thing, 'that her story touches us all." "'How many people in their Life get such an enormous support 'to try and bring to Life a novel they totally adore, you know?" "' 20 million plus, plus all the, you know, care and attention of people around them, partners, everything, prepared to live like gypsies for months to see if they can have it happen, and never deal with a household thing in all that time," "because you've got 15-hour days and you can't do it." "Mummy..." "It's great for a while, it really is some major occasion."