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00:00I have to ask you about working for director Jerry Seinfeld, and you're playing this actor
00:10who is the voice of Tony the Tiger for Kellogg's, and he's a real guy.
00:17Yeah, Thurl Ravenscroft, now dead, was a real actor, and a pretty good one, I believe.
00:24My Thurl Ravenscroft is clearly the American cousin, or a cousin, of Phoenix Buchanan from
00:30Paddington 2.
00:31Ah!
00:32Yes!
00:33Ah!
00:34They're both disappointed actors who think that they deserve better things in life.
00:43Think your door's a bit stuck out there?
00:46The door won't open.
00:48The front door?
00:49Yeah, the front door won't open again.
00:53It opened when we came in.
00:56Maybe if you unlock it, it will open?
00:58No, no, I understand what you're asking me, but the deadbolts are on a timer.
01:04I got carried away with our conversation.
01:07I didn't realize the brace had been set.
01:08I should have pulled the pin when you came in, but I forgot, so if you are now regrettably
01:14ready to leave, you'll have to exit through the back of my house.
01:19Where?
01:21Just through here.
01:23Well, can you just unlock the front one, please?
01:27We would like to go that way.
01:29Just so we don't get turned around and confused when we get outside?
01:34Yeah.
01:35It won't open again until morning.
01:39Welcome to the actor's side.
01:40He needs no introduction.
01:42His latest film, though, will surprise you.
01:45And I'll just say that as we talk about it.
01:47Welcome Hugh Grant to the actor's side.
01:51Nice to be here.
01:52And that film is called Heretic.
01:54And I was thinking, have I ever seen Hugh Grant in a horror film before?
02:01And I had.
02:02Lair of the White Worm.
02:04You saw that?
02:06Yes.
02:07Ken Russell.
02:08I think I've seen every film Ken Russell did.
02:10And I guess that's the only horror film on your filmography until this one.
02:16The only deliberate horror film.
02:19Yeah.
02:20Right.
02:21What do you remember about doing Lair of the White Worm?
02:25Very early in your film career, 1988.
02:28Yeah.
02:29Well, I think it was one of Ken Russell's last films.
02:34And he was a great genius.
02:36And a very...
02:38Did you ever meet him?
02:39I never met him.
02:40No.
02:41I met him through his films.
02:42He was hilarious.
02:43He was one of the funniest men I ever met.
02:45And maybe because of that, he shot that film in a way that was, I think, semi-tongue-in-cheek.
02:54We had a read-through just before we started shooting, and the cast couldn't stop laughing
02:58because really, it was so absurd.
03:00And then I saw him laughing, and I think that's why that film has a peculiar tone.
03:07But people love it.
03:08Mainly people who smoke a lot of pot.
03:10Well, you know it's a cult film now.
03:13It may not have started out that way.
03:15I don't think it was a box office hit, but it...
03:17No, certainly not.
03:18But I gather, this is the greatest compliment, that it's at Tarantino's theater here in L.A.
03:24You know, he has his own cinema.
03:26And it's been showing there.
03:28Two of my films Tarantino has picked.
03:31The other one, even more bizarrely, is Music and Lyrics.
03:35Oh, yeah.
03:36A romantic comedy I did with Drew Barrymore.
03:38Which I know Tarantino loved because he once pushed his way through some crowd at a party
03:44in London and said, man, I love that film.
03:46I thought, no, you must be mocking me.
03:50But I think he really does.
03:51Well, that's running the gamut of Hugh Grant films.
03:55Yeah, it certainly is.
03:57And your career, you know, in terms of that.
04:00The romantic comedies, of course, took over for a while in people's perception of you.
04:06But I have to tell you, in the last decade, or however long it's been in terms of what
04:12I've seen you do, they're now calling you a character actor.
04:16I don't know if you like that term, but that's what they're saying.
04:18Well, I think I do like it.
04:20I think I do.
04:21I mean, and it happened largely by default because the romantic comedies just fell off
04:27a cliff.
04:28And thank God, in a way.
04:29I'm very proud of a lot of them.
04:30Almost all of them.
04:31Hooray.
04:32I'm glad they happened.
04:34But then, that all finished.
04:37And really, this is a second career.
04:40Yeah.
04:41And you're picking such interesting roles from, I mean, Paddington, too.
04:45And that actually, I think you must have been surprised, but that brought you awards recognition
04:50even for it.
04:52And a musical comedy career in the offing.
04:57A kid's film.
04:58Oh, I see.
04:59Yes.
05:00Well, I do love musical comedy now.
05:02That got me interested.
05:03I've started watching a lot of, you know, Gene Kelly and Fred Astaire things.
05:07I watch those films and just think, they're so gorgeous and just viscerally entertaining.
05:16I don't see the point of making any other kind of film, really.
05:18Just have singing and dancing.
05:20The MGM musical era?
05:21Yeah, yeah.
05:22I know.
05:23I watch them all the time, too.
05:24I just watched Royal Wedding, actually, the British one, which I realize I'm watching
05:28and I go, I've never seen it.
05:29I've seen the dance on the ceiling and everything, but I'd never seen the movie.
05:34And you know, it's just great.
05:37It's bright, technicolor, fun.
05:39Comforting.
05:40The older I get, the more I need comforts.
05:42Is that right?
05:43Yeah.
05:44A little comfort.
05:45And MGM musicals is one of my comforts.
05:49That's great.
05:50Well, you know, Heretic may not provide comfort to audiences in a way, but it might.
05:56Because it deals with all sorts of lofty issues in our lives.
06:01And particularly the afterlife, death, religion, all kinds of things.
06:06When I call it a horror film, it's really much more than that.
06:10I like to think it's more than that.
06:12Yeah.
06:13It's way more than that.
06:14It's a psychological thriller, but it's also a film of ideas.
06:19And what's it for?
06:20People sometimes ask me that.
06:22I think it is to mess with your head.
06:24I mean, A24 films of this nature, when they work, that's what they really do.
06:29They disturb you, shake you up, send you into counseling.
06:33Oh my God.
06:34Did you ever see Midsommar?
06:35I was going to talk about that one.
06:38Because I was sitting at home, whenever it was, a couple of years ago, with my Swedish
06:43wife on a tough day.
06:45We thought we needed a film to cheer us up.
06:47And I was looking through those DVDs that come from the Academy.
06:49I said, oh, here, look, it's a fun Swedish one.
06:53It's got bright colors.
06:54It's called Midsommar.
06:55I said, it must be a comedy.
06:57Let's put this on.
06:59And really, to this day, both of us never got over it.
07:02Yeah.
07:03It's a very memorable movie.
07:04It sticks with you.
07:06I've seen zillions of horror movies, and I forget them when I'm walking out of the theater.
07:08But that one was unique.
07:12Do you like horror movies?
07:14Do you like to watch them?
07:15Or that was just an accident?
07:16I like to watch the art of them, when they're beautifully made, like that one.
07:21But I would have to finish watching by 11 a.m.
07:24Anything after that, I can't sleep.
07:27What was it about Mr. Reid, when that was presented to you, that intrigued you as an
07:33actor here?
07:34Well, I don't know.
07:37The older I get, the more I am drawn to the misshapen, the twisted, screwed up, the sick.
07:50Maybe it's all an antidote to the endlessly delightful people I was earlier in my career.
07:59But he ticked all those boxes, and was very complex psychologically.
08:06I wanted to try and work out what hurt him, what made him like that.
08:10But I also thought he might be fun.
08:14For me, anyway, a character, you have got to enjoy being them, and have a sense this
08:18is going to be entertaining.
08:19Otherwise, there's frankly no point doing it.
08:21And I thought, this man who talks a lot about religion, and likes to lecture and disorientate
08:29young women like that, the way in is for him to be that teacher, that university professor
08:36we've all had, who thought they were a bit down with the kids, a bit cool.
08:41One who was iconoclastic, and made a lot of jokes, and was kind of fun, hip, or thought
08:45they were hip, thought they were fun.
08:50And who wore double denim.
08:53Double denim was a very important kind of visual for me.
08:55I think it was an interesting choice for you, with your history with the audience, and their
09:00history with you.
09:02To watch you go into this role, and deceptively take us through him.
09:09And we think he's one thing, because you sell it.
09:12You really do.
09:13We buy it.
09:14And then the horror can really, truly take place, effectively.
09:20I always thought that the horror would be more effective, the more outwardly fun the
09:29guy is.
09:31He thinks this entire evening with these girls, even right up to the end, is kind of fun.
09:36Oh my God, and his technology, and his taking notes.
09:40Constantly taking notes.
09:41Taking notes, little devices, all of them very analog, very well organized, and complex
09:46architecture of his house.
09:48And I think he has this extraordinarily detailed Venn diagram for these evenings, when people
09:56come to call.
09:57You know, if she does that, then I'll do this.
10:00He's worked it all out.
10:02And that was quite fun, working out that Venn diagram before I started choosing.
10:06It's one step away from Edward Albee, in a way, who's afraid of Virginia Woolf.
10:11A night of fun and games at George and Martha's, and this unsuspecting couple come in and get
10:18the treatment.
10:19I mean, so take that further, and that's really what you've got going here.
10:24I know what you mean.
10:26I know what you mean.
10:29And he gets off on, it thrills him to disorientate.
10:36Did you create a whole backstory, or was this in the script?
10:40He's so detailed, and you really feel this is a very three-dimensional character, as we see here.
10:46Well, it's nice of you to feel that, and yes, that's my process, which seems to have become
10:51more and more elaborate over the years.
10:55I start very early, almost as soon as I've signed for the film, doing the most absurd
11:01amount of tooth combing, like archaeological tooth combing through the script.
11:07Why does he say that?
11:08Why does he do that?
11:10I see it was something that happened when he was 12, and I gradually create this huge
11:14biography, and I really don't know if it helps, but I think it does.
11:19I call it a marinade.
11:20I sort of marinade in the character for many, many, many weeks.
11:25And did you, what kind of research do you do?
11:28So there was a bit of that as well, given who he is.
11:32I don't want, this is very difficult to answer this question without spoiling things, but
11:37maybe people can tell from the marketing anyway that he's not entirely nice.
11:40So I did go down a lot of rabbit holes with cult leaders and mass murderers.
11:48Wow.
11:49Yeah.
11:50I have to say your two co-stars in this, Sophie Thatcher and-
11:54Chloe East.
11:55Yeah.
11:56Are wonderful.
11:57Incredible actresses.
11:58Yeah.
11:59If we're allowed to say actress anymore.
12:00Actress.
12:01You know, well, this is the actor's side, so we'll call them actors.
12:04Okay.
12:06They can be politically correct, whatever they are.
12:08They're terrific.
12:09They are.
12:10They're unbelievable.
12:11And such a difficult thing to do, because they have to do a lot of listening, which
12:18personally I find quite difficult, particularly on camera.
12:22And they have to stop being unsettled and scared after maybe 20 minutes of the film,
12:29and then keep ratcheting that up for another hour and 20.
12:35That's not easy.
12:36The production design is to die for, too.
12:38I don't know what it was like to work or where you shot this, but-
12:41Well, we had a genius, Philip Messina, who built the whole place in a soundstage in Vancouver.
12:50And it's a work of genius.
12:52It truly is a work of genius, what he made, I think.
12:55So complex and so- Well, I would like to say fucked up, but I don't know if I can on your-
13:02You can absolutely say anything here.
13:04Just fucked up.
13:06Yeah.
13:07And the way it goes, and all throughout this.
13:12I'm just curious about, I mentioned in the last few years, you've been taking these roles
13:16that are totally unexpected, but we totally go into the gentleman.
13:22Then I saw you in Wonka doing the oompa loompa.
13:26I mentioned Paddington.
13:29Cloud Atlas, I believe the directors of this film, Heretic, were massive fans of that and
13:35your performance playing six different roles and said, wow.
13:39And they thought of you because of that.
13:41Yes, that's what they say.
13:43I don't know how much of that is true or whatever, but it has been quite fun over the last eight
13:49years.
13:50And then there was some television, which was fun.
13:52I used to look down my nose at television.
13:55Is that right?
13:56Because your TV stuff, I think the last time I talked to you was for The Undoing, which
14:00was a riveting, a limited series with Nicole Kidman that I purposely watched every week.
14:09You could talk about it, just the old way.
14:11I used to watch TV and not binge it.
14:14That's right.
14:15It was nice.
14:16It came out the old school way.
14:17Because we're talking about this character and going like, did he?
14:20Did he not?
14:21Did he not?
14:22He's a really interesting guy.
14:23Yeah.
14:24And there were some similarities with Mr. Reid in Heretic in that I had to create in
14:29my margin of my scripts two sets of notes, one for outward Mr. Reid and one for inward
14:35Mr. Reid.
14:36And it was the same with The Undoing.
14:39And that was a fun job.
14:41But again, it was television, but it was made by a distinguished film director, Susanna
14:45Beer, made incredible Danish films.
14:47And the other TV project was A Very English Scandal, directed by Stephen Freer, a film
14:54director.
14:55And again, a very complex and pretty repellent narcissist.
15:03It's good to see these great directors embracing-
15:05Not him, me.
15:06That came out wrong.
15:07That's a different person.
15:08My character.
15:09Yeah.
15:10Well, it's good to see them embracing this form, this longer form where you can play
15:14with it more.
15:15I just saw a disclaimer, which Alfonso Cuaron-
15:18How's that?
15:19It's fascinating.
15:20Kevin Kline and Cate Blanchett.
15:22I'd love to see that.
15:24You'll like it a lot.
15:25It's really interesting.
15:26But I like, that's another one.
15:27You just let it unfold.
15:28And these directors really seem fascinated.
15:30What's it on, HBO?
15:31It's on Apple.
15:33Oh.
15:34Yeah.
15:35Just started, actually.
15:36So you're 65 now, I think.
15:38Four.
15:39Thank you very much, Peter.
15:4064.
15:41Okay.
15:42Oh, when I'm 64.
15:43Yeah, yeah.
15:44You know, I talked to Jamie Lee Curtis and she said the same thing.
15:47She said she's 64 and she decided she's going to make the most of it now.
15:51And boy, has she ever.
15:52She just said, I'm at a period in my life and career where I just want to take chances
15:57and risk.
15:58Yeah.
15:59Why not?
16:00Nothing to lose.
16:01Right?
16:02Yeah.
16:03Is that where you're at?
16:04I suppose I am.
16:05I certainly don't feel like there's much to lose.
16:06And yeah, you care less, which is what is wonderfully liberating.
16:11Not just in the roles you do, but in, you know, even this, when you're running around
16:17the world banging the drum for a film and things go wrong, you say the wrong thing.
16:23Little explosion here and there on the internet.
16:27And it's nice being my age because you just think, I don't really care.
16:30I don't really care.
16:31It'll all pass through.
16:32Did you really care at the beginning of your career?
16:35Is this true?
16:36I heard you were ready to quit acting right before Four Weddings and a Funeral, or is
16:40that just a myth?
16:41No, that's pretty true.
16:43It's pretty true.
16:44I was...
16:45I'd been...
16:46I had a lot of fun.
16:47I had two friends.
16:48We had a show.
16:49It was a comedy show.
16:50We liked doing that.
16:51I enjoyed doing that.
16:53We wrote our own stuff.
16:54We were writing other stuff for TV in England, a lot of radio commercials we produced.
16:59And just acting, saying someone else's words had lost its charm.
17:05And then one day this script arrived.
17:08I thought, well, that's good.
17:10I have to say, that's funny.
17:11That's good.
17:12Yeah.
17:13And so I went for the audition and they didn't want me at all.
17:19The director wanted me, Mike Newell.
17:21But the writer, Richard Curtis, no, he thought I was all wrong.
17:26Wow.
17:27Why?
17:28Because you're...
17:29Well, what he says is that he'd written it as this guy who would not get the girl or
17:33would be...
17:34Yeah.
17:35He would find it tough to get the girl.
17:38And he thought I was too likely to get the girl, I think, and too posh.
17:43And anyway, that's why, having persuaded him that I was the right person in that film,
17:49I'm wearing the worst possible clothes we could put together.
17:54And tried to give me the worst possible haircut they could imagine, which didn't work at all
17:59because when the film came out, people liked that haircut, in some cases copied it.
18:05But that was the idea.
18:09But it wound up being, obviously, an international smash, as they say, nominated for Best Picture
18:16at the Oscars.
18:17You won a BAFTA Award, a Golden Globe Award.
18:20I mean, then all of a sudden...
18:22Yeah, it was quite a catapult.
18:28What did you think about that then?
18:29Did you say, okay?
18:30And then you became this major...
18:32A few months before, I'd been this guy thinking, I don't want to do much more acting.
18:38I enjoy the writing and things.
18:40But then you can't.
18:41This is an extraordinary event.
18:46And suddenly, I was being offered everything, really.
18:49And I thought, well, I have to do this.
18:53And so that's what I started doing.
18:55I started taking offers from Hollywood and things like that.
18:59That went pretty badly wrong at the beginning.
19:02Why did it?
19:03Because, I mean, if you look at that list after that of all those movies, Nine Months...
19:09Yeah, so Nine Months was made by Chris Columbus, who's one of the great geniuses of popular
19:14cinema.
19:15Right.
19:16Home Alone.
19:17Home Alone, all that.
19:19And Nine Months was a pretty good story.
19:21It was based on a French film.
19:23It had an amazing cast, all being hilarious and brilliant.
19:27And then me being absolutely appalling.
19:32And I don't really know what exactly went wrong to this day.
19:36I think I panicked, because I thought, oh, it's a big Hollywood film, and they're paying
19:40me so much more than I'd ever been paid before in my life.
19:46I think I thought, I better act a whole lot more.
19:51And it was horrible.
19:52Oh, my God.
19:53Yeah.
19:54I'll have to watch it again.
19:55No, please.
19:56I'll pay you not to.
19:57You know what I did watch again, because my wife loves this.
19:59I keep bringing her up here.
20:01She said, don't bring me up in these things.
20:02Notting Hill, which still works.
20:08It absolutely works when you watch it now.
20:10Well, I've got little girls, well, I've got five children, but two little girls who seem
20:16to have some interest in my career who want to now watch these things.
20:19So sometimes I do re-watch.
20:22And my wife is very good on those Richard Curtis romantic comedies, because she says,
20:27she's Swedish and from the north of Sweden, where everything's about gloom and death and
20:32fjords.
20:33She said, oh, the reason this film works, and Love Actually and all those, is because
20:37of pain.
20:38She said that the comedy is not just comedy, it's dealing with pain, it's dealing with
20:43unrequited love or disappointed love or bereavement or something.
20:48And she's absolutely right.
20:49I think that's why they do have some sustaining qualities.
20:56That's so interesting.
20:57You mentioned Love Actually, which obviously is Richard Curtis again.
21:01And that movie, did you know when you're making that, you're playing the prime minister and
21:06all of that, that this is going to be the next It's a Wonderful Life, that it's never
21:11going to go away, that every Christmas...
21:13I saw the stage show here in LA, that they do a multimedia stage show.
21:18There was a network ABC special with all of you talking about it.
21:23Did you have any idea that that movie...
21:26No, definitely not.
21:29Definitely not.
21:30That's very surprising.
21:32But perhaps, perhaps, it is something to do with what I just said.
21:41It's a funny entertainment and moving, but maybe it has legs, as we say, simply because
21:48it's actually dealing with something quite dark.
21:50People say, no, no, it's a bit of fluff.
21:53I'm not sure that's right.
21:55Everywhere there's pain.
21:56Laura Linney's dealing with her brother who's got problems with mental health, and everyone's
22:03living with pain.
22:04There was a line Roger Ebert said about you.
22:07He was talking about how great you are in some movie or something.
22:09He said, the Cary Grant department is understaffed right now.
22:13And you've gotten this probably your whole career, maybe not just because of your last
22:17name, but a certain amount of charm in a lot of movies and things that Cary Grant was associated
22:23with.
22:24So I've been watching a lot of Cary Grant movies.
22:25Not preparing for this interview.
22:26I just have that.
22:30He never took a leap quite as far as you take in heretic in his career.
22:35I think he might have wanted to, and I don't know that Hollywood or the business would
22:41let him.
22:42And you are getting the opportunity to go in all kinds of places.
22:47Like you say, you don't care.
22:48Well, as I say, I mean, first of all, it's an absurd comparison.
22:53He was iconic and marvelous.
22:57I'm not putting myself in the same bracket, but I think that his career was different
23:00in that it was always on an upward graph like this.
23:04And it would have been, doing what he did so marvelously, it would have been a very
23:08big jolt to suddenly be Mr. Reed in heretic.
23:11Whereas mine went like this and went, and so I can do what the hell I like.
23:17I'm building up career number two.
23:20That's funny.
23:21I always thought too that comedy, and you do it so well in so many different ways, and
23:26he did it so well, was never appreciated when it comes to Oscars and things.
23:31They think maybe that's too easy.
23:33His nominations came for None But the Lonely Heart and Penny Serenade, as serious as you
23:39could ever find Cary Grant.
23:42Do you think it's underappreciated to be able to do that?
23:46I really do.
23:48I really do.
23:52Anyone who's done comedies knows it's harder.
23:56It truly is.
23:57Because done right, it has to, you have to be two things.
24:03You have to be funny, but you have to be real at the same time.
24:07The mistake I made in nine months, I only, I went for only one and failed on both.
24:12But you have to start with real and keep an eye on real.
24:18In films, you can be broader than that in television, because it's shorter, 30 minutes,
24:24but it won't sustain for 90 minutes if you're just being funny.
24:30You are, surprising to me, back doing Bridget Jones, and that character comes out early
24:38next year.
24:39We're going to see you back in that role, Daniel, and with Rene Zellweger again.
24:48This is your, I don't think you did the-
24:50I skipped number three.
24:52You skipped number three.
24:54Why did you skip number three?
24:55Did they ask?
24:56They did want me to be in it, but I, that was the one about Bridget is pregnant and
25:03she's not sure if it's Daniel Cleavers or Mark Darcy's, which is a great setup, but
25:08I couldn't work out how Daniel would react to that in a humorous way that would sustain
25:15over 90 minutes.
25:17In the end, just said, I can't do it.
25:20Anyway, they did it another way and did it very well.
25:23But in this one, it's a completely different story.
25:25It's actually began life as Helen Fielding, who wrote the books, wrote a non-Bridget Jones
25:31book about a woman based on herself who loses her husband and has to bring up her children
25:37alone.
25:38It's very, very moving, very funny.
25:40And apparently while she was writing it, she realized the lead character was pretty much
25:44Bridget.
25:45So she converted it into a Bridget novel and I read it and it's her best book by far in
25:53my opinion.
25:54Yeah.
25:55Really funny and very, very moving.
25:57And then a script was produced and Daniel is her friend by now and they wanted me to
26:06be in it.
26:07And I just said, that's fine as long as we work out something for him.
26:12He can't still be just the guy who's picking up chicks in parties.
26:19Something needs to have happened, something to give him a third dimension and we devised
26:22something.
26:23You did?
26:24Yeah.
26:25Okay.
26:26Have you seen it yet?
26:27No, but I just heard about the previews.
26:28They're all very excited.
26:29Oh, that's great.
26:30Yeah.
26:31Well, I mean, it's got a built-in audience to be sure that's been waiting.
26:33I think so.
26:34Yeah.
26:36I mean, now that that's back to your romantic comedy kind of-
26:40Yeah, but not with a 64 year old Daniel.
26:46There is nods in that direction, but there's more to it than that.
26:49So what does Hugh Grant want to do next?
26:51I mean, is there something that you're-
26:53Well, I still get, you know, fabulously weirder and weirder offers.
27:00There's one I'm just probably going to do, which I won't divulge until I've decided,
27:05but it's, you know, it's even weirder than anything I've done before.
27:10Wow.
27:11You know, I loved seeing you.
27:12I love your stuff with Michael Ritchie.
27:14I loved Operation-
27:15Guy Ritchie.
27:16Huh?
27:17Guy Ritchie.
27:18I mean, Guy Ritchie.
27:19Sorry, Michael Ritchie.
27:20I always say that too.
27:21Guy Ritchie with Operation Fortune, which was a really fun character.
27:26Well, I agree with you.
27:28I love being him.
27:31I love being him.
27:32So, you know, I love Guy Ritchie's films, actually.
27:36I think he's-
27:37Yeah, The Gentleman.
27:38Yeah, The Gentleman was great.
27:41And he's just a really interesting filmmaker because he's very un-British in the sense
27:50that a lot of British films are strong on acting, strong on script, but not terribly
27:57visual or cinematic.
27:59And Guy, who comes from advertising, is brilliant with the camera, editing, sound, what he calls
28:07the zhush, and very unorthodox.
28:11There is a script, but every day you turn up and he says, no, fuck that, fuck that.
28:18And then you kind of all improvise it.
28:20Oh, my God.
28:21And he, you know, he says, yeah, that works, that's about, or you might say that.
28:24And it's all done on the hoof.
28:26Wow.
28:27And brilliant.
28:28Brilliant.
28:29That's so great.
28:30Yeah.
28:31Well, I always look forward to everything you do.
28:33And Heretic, you're in for something with this movie, and it's well worth seeing.
28:39Thank you, Hugh Grant, for joining us on The Acting Side.
28:41Thanks, Pete.
28:42Thank you very much.