Gary Oldman, Vol. IV

I remember I got in a lot of trouble because I said that there was going to be a third batman and they hadn't announced it boy. And I got reprimanded for that. I got into a lot of sh*t for that. So even if I knew, even if I knew it was who the James Bond, I wouldn't, I've learned my lesson. I'm not going to overcome my mouth. Prepare your ears, humans. Happy, sad, confused, begins. Hey guys, it's Josh. Welcome to another edition of Happy Seg. And today on the show, it is truly one of our favorites, one of the great actors of all time. It is the one and only Gary Oldman coming at you from the Toronto International Film Festival. Hey guys, thanks as always for checking out Happy Seg. And remember to subscribe on YouTube, on Spotify, on whatever podcast platform you are using. I appreciate you guys. I'm so excited to present this episode. It is always such a profound, profound honor to have Gary Oldman on the podcast. His fourth time on Happy Seg. And he's his third live event. We've done it in New York, we've done it in L.A. And we brought our little crazy conversation to Toronto this time. So honored to do this one. This is our first happy Seg. I'm confused, live taping, technically speaking outside of the United States. I've been coming to the Toronto International Film Festival for many, many years. As you can see, I'm in a sad banal hotel room, but it's all for a good cause. Because I'm seeing good movies, I'm seeing great people. It's been a whirlwind coming off of Tell Your Ride right into this. But I wouldn't have it any other way. And certainly having the likes of Gary on the podcast is why I do this show truly. If you've seen his past conversations with me, you know he is a consummate storyteller, a sweet and gentle and kind of slightly chaotic in the best way so. And it is, it is just crazy to me that he is in my life to some degree and that he appreciates what I do. As he says in this podcast, he's very sweet enough to request me to do this kind of special tribute to him at Toronto. He was honored as a visionary as part of their series here. And this obviously comes on the occasion of two really cool things for Gary. He has been nominated for his third consecutive Emmy for playing Jackson Lamb, of course, in Slow Horses. And the new season of Slow Horses, season six, is about to drop on Apple TV on September 16th. I've seen it all. It's a great season, one of the best. And there's more to come on Slow Horses. As you might know, they crank these out. They somehow figured out how to not make you wait two or three years, like some shows. Mocking name names do. And they keep the quality up. So that's something exciting. And as always, we cover a lot in this conversation. Yes, we do some of the greatest hits, whether it's Dracula or Harry Potter, Batman films, the fifth element, and more some great stories in this one. And I'm so, so thrilled to share it. My thanks to Gary, his folks, Apple TV, and the Toronto International Film Festival that's been a home to this great festival for so many years. And like I said, I've been coming for nearly 20 years and absolutely adored. I've seen so many friends and great films here over the years, including this year. So always a pleasure to be here and such a thrill to bring happy, sad, confused as a live event to Toronto on this occasion with Gary Oldman. Okay. Remember, check out our Patreon Patreon.com/happy, sad, confused, early access discount codes, live events, all sorts of cool stuff. If you like what I do, check it out over there. But for now, let's get to the main event. Here is me. Oh, and I'll just mention one thing. Audio, because we were in this live environment, might not be up to our usual higher standards. But forgive that, please, because it was a live event and kind of a little bit out of my control, frankly. But you'll hear and see everything you need to see in here. So here you go. Me and Gary Oldman. Enjoy. I can't think of a better way to kick off the Toronto International Film Festival than with an actual visionary. My favorite actor, I can't believe Gary Oldman, we're talking again. Welcome, sir. It's good to see you. Nice to see you. It's thank you. Would your wife and family also agree you're a visionary? Is that an adjective that's often used to describe you at home? It's the first time it's ever been used. What are the adjectives that would describe you? If I got your friends and family up here, what would be the first words you think they would use to describe you? I'd be a bit of a softy. Oh, yeah. I cry at, like, you know, movie of the week and stuff like that. I'd like to think, I'm loyal. I'm a good friend, I think. I don't have many, but the friends that I do have, I've known for some of them, you know, for when my friend George, I'm only 45 years. So I have very, I've long friendships and loyalty is a big, big thing with me. You talk about sentimentality. You've always been acclaimed from the start, but especially in recent years you get the Oscar and the BAFTAs. You're a visionary today. You're nominated for an Emmy. You were knighted last year. Was that meaningful for you to be knighted? Incredibly so. Yeah. Yeah. I was deeply honored to have that bestowed upon me. Yeah. And it's an experience that is, I mean, just unique and unto itself. And it was at Windsor Castle, which in itself is just the whole pomp and circumstance of it is quite sort of overwhelming. And to have, you know, to have your work over the years, you know, recognised in that sense is a beautiful thing. Yeah. Is it true that Prince William outed himself as a big slow horses fan too? Yeah, actually Roy was, yes, I believe. I know that the Camilla the Queen is a big, is a big fan because, well, I've run into a couple of times. Like you'd do. And I'll do it any more. I hope it's coming back, isn't it? And it was William who said to me every time you come on the screen, he said, I just want to give you a good wash. So they're big, they're, yeah, they're big, they're big fans. It's hard to imagine in it. They're sort of watching the Windsor Palace and they're on their sofa. Slow horses is near your own. Put the comment about needing a good wash reminds me of like, it must be so lovely. Like because of the nature of the character you play, Jackson Lamb, when people see you out and about and you're put together, it's like, oh, wow. He's, look at this. This is a miracle. Well, I'm not asked, but the other members of the cast are always asked, does he smell? And I can attest. You smell amazing. I don't smell. No, it's all down with so spunk mirrors. Well, we'll get the slow horses and I should mention season six is fantastic. It's about to drop on Apple TV. You're all going to absolutely adore it and there's more to come after that, thankfully. But going back and we've had some conversations about your career. I mean, we've talked before about, you know, sit and Nancy and prick up your ears, kind of watching you in film. You know, like, I think by virtue of sit and Nancy, especially, you kind of got the reputation of like, oh, this is like, this is a rebel. This is a punk actor. Is that who you were as a young man? Will you describe yourself as a rebel? No, I'm not particularly. But it was a reputation that I enjoyed and I played it up a bit. Well, you know, that kind of the sort of bad boy thing. I feel like I'm, can I, I feel like I'm not on a level with you. You were on a much higher level. No, I want to be on a level with you. There you go. I can see you now. Yeah, I put a must have. I think I've played the upper bits of wild, wild boy for a while. I mean, I mean, I mean, it's no secret that I used to drink. And I am 29 years younger. It's just, which is something. It's, I mean, it is a huge accomplishment. but, um, So I was a bit of a rebel, a bit of a wild boy, back in the day. Oh, my heroes, as a kid, you look at these big, alcoholic, some drug addicts. All the Peter O'Toole's and the other Peter O'Toole's and the Richard Harris and Richard Burton. You know, you'd look at writers or poets and they were opium addicts. All this, you were romanticising all that sort of legacy and the boost didn't help, it got in the way here. You think it's helping for a while, but it takes a toll and it catches up with you. No, I'm just very grateful that I had the way with all and just to say, you know, I wouldn't be here. Yeah. I certainly wouldn't be here. What was the first job post that transformation and do you remember it feeling, there must have been nerves because again, there's that kind of romanticised notion that this gives me, this gives me what I need. Yeah, I did a film years ago with Dennis Hopper who, again, enjoyed sobriety after many, many years of abuse and he told me a story that he was working on one particular film and he would drink 15 beers a day, but then that was on top of it, you know, in the evening he would move on to the brandy in the evening, but during the day he would drink about, he told me it was about 15 or 16 beers, but what he would do is he would also couple it with cranberry juice because it's good for the liver. So I have that balance in life. You got it, you got it. Yeah, it's about this. It's about this. It's about this. It's not about this stuff. Yeah, forget that. I think he told me this through the absolutely serious vibes. So I mentioned it in Nancy. I just got to tell me, I heard something literally just this past week that I fascinated me. Even before you got to Nancy and you're living the life in the theatre, I was talking to you backstage about Kenneth Branagh and Freddie Fox's new film Kenneth Branagh mentioned that in about like 83 or 84, he remembers going on an edition for Dune and seeing you and Daniel Day Lewis and Colin Firth literally all lined up auditioning for David Lynch. Do you have any memory of that? Well, I was just doing drinking. The record was, we'll get better in the last 30 years. Yeah, we used to pass, we used to see one another going in and coming out. There was Daniel, yeah, Colin and Tim Roth and you have, there was a whole sort of gang of us. They called us the Brit Pack. Didn't they? Do you remember? You had the Brit Pack. He's, forget me, America, that's where in Canada, we're in Canada. So America had the the Brit Pack and we had the Brit Pack and we were all going up for the same, for the same roles you inherited at the time, was it a, well, it's, that's the thing. It's not a competition. You really, really have to focus on what you're doing and not what someone else is doing or achieving occasionally, you can, you know, it can, it can go a bit, you know, and you think, well, they're doing awfully well, aren't they? But I think as you, as I've got older, God, good luck to them and God bless them. I mean, it's, I don't see it as a, as a competition, I, I mean, Daniel is where, I think he's a year older than me, but we have the same generation and I, I think, Daniel is an extraordinary actor. I mean, just transcendent and there's, there's, there's, there's no question. I don't, I don't, I don't feel that, I mean, I mean, competition with him, I just, with, wish him was very best. I'm not trying to start a beef with you and Daniel. No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, we're friendly and, and I'm just saying, but there's a lot of, there's a lot of wonderful people, a film that I particularly loved, which was, I can't remember now, if it was last year or early this year, was Train Dreams. Oh, yes, and, and I saw that, to Joel Edgerton's performance was absolutely breathtaking. I was, I loved with this performance, and I, for my learning, I, it was, that was the one. That, I think that performance is extraordinary, and, but, well, you just made Joel Edgerton's year, but I'm not, I'm not in competition, no, of course, I can look at it and go, wow, I, I think it's, I think it's great when you can look at something and, and in, in your field, look at something and just say, you know, I didn't know how they did that, you know, wow, I, I can't do that, you know what I mean, I think that's a, that's, I love good film and TV and good acting and good directing, and, and, and only, I only want to encourage more of it. I want, you know, I know literally every five of the five hundred people in here are all think the same thing. That's what we think about you, and we're watching your stuff. How is he doing that? Like, truly, more happy, second fused coming up. You've got your favorite blanket, a freshly poured drink, and a cold case burning a hole in your streaming queue. 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Step into the whimsical world of Patrick Pickle Bottom, a precocious 11 year old, with a love for reading and an uncanny ability to solve mysteries. Inspired by the beloved children's book of the same name, this podcast vividly brings Patrick's tales of deduction and everyday adventures to life as he unravels baffling endigmas and solves clever cases. Patrick Pickle Bottom Every Day Mysteries is perfect for kids, and he's just as entertaining for grown-ups who love a good mystery. The whole family can listen now wherever you get your podcasts. Um, I want to mention more than mention and talk about so horses. Gary has been knowledge for the third year in a row with an Emmy nomination well deserved. That's coming next, next to me. It's actually your fourth Emmy nomination. Does anybody know what Gary was first nominated for the Emmys? Friends. Friends. That's what we call a fun fact. How did you end up in friends? My comedy period, that was, yeah, I think 15. How did I end up in friends? Yeah, Matt Leblanc. I worked with Matt Leblanc in a film called Lost in Space, and we became our buddies, and then that, the spitting actor came up, and he said, "Would you like to do it?" It was, um, I loved it. I could get really used to it. You're coming on a Monday, you did the re-through, then they re-write. They send you some re-writs on the Wednesday, and then Thursday, I can't even remember if we came in on Thursday, though. And then Friday, you came in and you blocked it. Friday afternoon you shoot it in front of an audience. You're done by five. I thought I could get used to this. This could be the next phase of your career after slow horses, a sitcom, a sitcom. But I tell you what was wonderful was observing them just going through the technical rehearsal. I'm watching those actors. It was like breathing for a number. It was easy as breathing. It was just one of the experiences of watching it, the rehearsal and behind the scenes of that show. I would imagine in a similar way that's what slow horses is, especially now as well. We're all pretty oiled in them. This is such a gift. Both of the audience and you, I know you have such affection for this character and the series and this company that you've worked with. As you well know, this is not like, you worry, like at different ages, are the parts going to come? Are the rewarding parts going to come? In your 60s, you have found arguably one of your favorite, if not favorite roles. Can you talk to me a little bit and the audience a little bit about just the meaning of this? I feel very fortunate to, as you say, you get to a certain point in life and you hope the work is, you know, for some people, the work dries up and for ever, ever serious reason it doesn't mean they get less talented or any less good. I was a big fan of a long form TV and I would watch talking about not being in a competition but I would watch sometimes with envy. These actors in these shows and think, "God, it would be so wonderful to do that, to come back, season after season, a sort of company of actors rather in the way a closeness and a conspiracy that you have when you do a play, to be in a company, to come and play a character and really go on a journey with a character." And I said to my producing partner, Doug, I'd like to, is there anything I would love to do something long form? I'd love to do TV and enjoy what these other actors, obviously, you know, we're getting something out of it, yeah. And I said, you know, is there anything around? I said, "But," I said, there's a, there's a but. I said, "Something in the spy world would be, would be good if there's anything out there in the spy world." I quite like that. I don't want prosthetic makeup because I've had so much prosthetic makeup. I do not, I do not want to live in a makeup chair for four or five hours. I want my own hair. I don't want to wear wig. I want so many wigs. I'd like something maybe a little closer to my own accent because I've done many accents and things and I don't want big elaborate clothes. I don't want, you know, I just want, I just want like one costume, I want to come in, throw on the costume, put some grease in my hair and, you know, blow and behold. Be careful what you wish for. And he said, you were the master. I did, I manifested, yeah. And then we were on a plane together, going always on a plane together and he always says to me, "I've got a lot to tell you. We're catch up at 30,000 feet." And we're on a plane somewhere and he's reading a script and he's traveling away. And I said, "Well, you're reading." And he said, "I am reading a character that I think is about to become your best friend." And it was slow horses and six years on. It was still, it was still going. Yeah. You've said to me before, you often kind of like put obstacles in your way before kind of taking on a character, saying no or otherwise. Oh, much so. Everything I've done, I've said no to. So you, I think came back. Were there any obstacles that you put in place for Jackson? Because you didn't say no, you were excited seemingly. But on another way, in any other way, did you create obstacles for yourself in this character? Well, because the one thing I have is, I thought, "Well, it would be fun just to maybe, you know, his description on it was such." But anyone would tell you that you get, you put on a little weight and then you get to a certain age. And it's not quite so easy, not quite so easy to take off. But there are no obstacles. No, not as this one. I was really thirsty for it. The source material was amazing, these books. I mean, the whole, I mean, I'm here, you know, bathing in the warmth of the slow horses legacy. But really, that world and those people are all from the imagination of Mick Heron, who wrote the books. He came up with an old thing. And it's a testament to his brain, but also the environment that you all have created on set, because I mean, I'm sure we're also a horse's fancier. I mean, the company of actors, it's a true testament to what you've created that each season, new and returning characters come into it. And as you well know, the key in any production is like being in the same production. And that's, I think, what I sense in slow horses, everybody knows what they're in. They're in the same thing, right? Have you, you must have had that experience at some point being on a set where that epiphany happens, where we're like, oh, I'm in a different movie than the director is directing. Oh, yeah. Oh, I should say. And you're working with some kind of actors that you just think, you're, you know, I tell you, I'm, I'm sure many of you, are you a comprothers fan? I mean, I tend to, they dial in a tone or a frequency that you've just, you've five minutes, you know, it's a comprothers movie. And there's a certain acting, but it's, but it's consistent, you know, and I've been in situations where, you know, someone's in a comprothers movie and someone's in a marty's score says, you know, you know, you do, you do get that occasionally, with, eternally, it's, it's, it's, it's imbalanced. What do you do in that situation? You just have to really, well, you can speak up, right? And, um, and then if you, if you heard, that's, that's, that's, that's the other thing. The thing I would say about the slow horses is, um, well, there's been a current, the thing about the, well, Smith leaving and, and the, or the showrunner. Um, we have, we have many showrunners. There's a wonderful team of, uh, of creative producers. There's a, a room of writers. And then the actors also, who now really understand the DNA of these people, these characters coming, it is, um, it is very, very collaborative exercise slow horses. Um, we, you, you never, one of, you, you can feel that you can speak up, that you're not put down, you're not judged. Which, and sometimes, um, in, in past experiences with movies, sometimes you, you, it's a, um, and a director sets an atmosphere where you can really work and really feel that you can let go and be creative. And other times, um, it's, it's, you know, and it comes from the top, right? It always comes from there. More happy, second views coming up. Hey, it's Hillary Frank, host of The Longest Shortest Time, a women's health podcast for everyone. And exciting news. I've got a new original audiobook. It's called Wedlocked, and it's a thriller about the pressure on women to smile through pain, there's marital strife, gaslighting, gynecology, and creepy music, which is running under me right now. If you like thrillers with a social message, like get out, promising young woman, then wedlocked is for you, get it now, wherever you buy audiobooks. Take them across the world, fighting for every cool they can fight. It's one heck of a tale, which is good, because this story might be the only thing that can save their lives. Let me mention some of the now iconic roles in your filmography if you'll indulge me in all of us because I think about your chameleon like tendencies, especially, it's so funny like you talk about like, you know, so horses being kind of like no prosthetics close to your voice. It's like you're kind of in this the total opposite era for you, like between mank and so horses, you kind of like went in the other direction and found it just as rewarding. That's just something, I don't know, I find that's, yeah, actually it was mank to Jackson. Right. Yeah. Well, of course, my cameo, you know, Oppenheimer. I missed you in the Odyssey though, I will say, you should have really, I did, that was the one thing I was missing. I feel that too. I think of your voices though throughout, they reverberate in my brain as a film lover and I think of something like, and I know you don't have the most affection for it, but I'm going to say at the fifth element, where did that voice come from, the voice for the fifth element? Well, look, the song would, now here's the thing, it would keep you line breathing so well, which is supposed to be the thing you should never ever do to like to. You find a way of getting what you want, you know, but you should never give a, they say, you should never give an actual line reading, I mean David Finch, he gives you line reading, so I'm happy to take it, actually. How'd you want it said, okay, I'll say it like that. But Luke would sometimes give you line reading, but of course, he had this French voice. Right. Very French accent at that time, his English wasn't great, so he would look like this. And he would give you a direction and you would say, and he would give you an inflection of how he wanted the lip, but he was hearing it in his accent and I thought, how can I give him what he wants, but not to, you know, he manuals or not make it and not, and I'm supposed to sort of, are we in America, you know, it was never really, we're in some other region. So I thought, how can I get close to what he wants, but, you know, make him happy and, you know, help me get through. So I could survive it, how could I survive this? And so what I came up with was I had a little forced teeth that I used to clip in, so I had the force, the front teeth, and I did a cross between, it was Bug's Barney meets Ross Peroll. And that, and that's, that old chestnut, everybody does that one, yeah. You remember Ross Peroll, you just thought it sounded like that, like that, and I just thought, well, if I just do, yeah, what's up Doc, if I, if I just marry the two, then I mean, it was perfectly, I wouldn't always, I wouldn't always come, uh, carrying to that way, but it was a cartoon, it was, it's bigger than life, it's a cartoon. So, um, but that's how that, that happened, yeah. Um, it worked. Don't worry. Don't worry. Thank you. Um, my other one that works, I'm, I'll always bring up Bram Stoker's Dracula, but he is, because I think it's just, I'm sorry, as long as we're talking, I will ask new questions because I'm always obsessed with this film. Um, I mean, I've been lucky enough in recent years to do a lot with Winona, actually Winona Rider and talk to her a lot about the production, and I will say she has nothing but love for you Gary. You should know that. That's very kind of that. And I know like, you know, it's famously kind of like, a bit of a fraught production. I don't know if that was overblown or not, but, um, did tensions like elicit help the production in some way? I don't know, in, in the case of like Francis, kind of like pushing you, asking you to improvise and character supposedly to that help, as you recall, or, um, I mean, overall, yeah, yeah, it was good. I mean, overall, it was a good experience, and I only wanted to do it because of Francis. Right. I mean, I didn't, it wasn't sort of on my bucket list, you know, I've got to play Dracula or I really need to play Dracula. I mean, it wasn't, it wasn't anything. I didn't even see, never even crossed my mind, you know, um, and then it was, so the interesting thing about it was that it was Francis Coppola's Dracula, and what, how he would see it and what vision he would, that he would bring to it, and we, we, we, we could sometimes we could come together and we, we would butt heads. Yeah. But there's some amazing behind the scenes where I know some of it looks, yeah, I look at it. Yeah. I'm not, no, I'm not very, I'm not, I'm not very proud of it, but, but yeah, but we, we, we sometimes clashed, yeah, but then when I, you see this, this is the funny thing is when I'd later directed, and I used a clip from Apocalypse Now, um, I obviously had to ask a bit permission, and he gave me that clip through, and he said, yeah, you know, Gary can have whatever he wants. And then later I ran into him again in calm, and, um, we, we were, whatever differences we had at the time, you know, we sort of, you know, we made up, but, um, I used to love the way I actually would, I love the way he would direct, because he would talk to you through in the take, like it would take, like it's like as if you were making a silent movie. You love, you love her. You've never loved a woman like, kiss her, run your feet, you would sort of, you know, more, more, and he would say, okay, that was good, oh, let's go out, come in and do that again. And the camera was, the camera would be rolling, and he would, you know what, and we're, we're all a bit, we're all a bit nuts. And to do, the job I do, and directors, they're all very, they're all very strange. And they're great, and they're great, and some of them are very good friends, but, but, we're all a bit nuts. So what you do is you just slip in, and you go, oh, she's like this, okay, he's like this. Oh, he wants to do a hundred takes. I'll surrender to the process, and I'll go along and do that. This person over here, and he wants to do two takes, and he's moving on. And that is, and you just have to morph into each of your own. Like, yeah, I mean, you can bring your, you know, most directors will cast you and expect you to do, to do your work. You don't get to a Chris Nolan set, and he's hired you, because he knows that you're going to do your homework, and you're going to come, and you're going to know the lines, and you're going to be prepped. I mean, that's, that's, you know, but they're all, they're all different, and, and And you really, you have to find a way of working with them and or it will, it will be really tricking. It could make their life your life and the people that you're working with, it could make their lives a misery. So you have to, and I was a little more combative when I was younger. It's something that I've just learned with age. You know that thing I'm speaking to, maybe, the over 60s in the audience, the thing where you just go, life's too sure. Life's too sure. You know, you can, you can still fight, you can still have the way. It's coming your battles too. The commitment to the work and everything, but let's get along, you know, rather than, you know, I read those stories about, you know, Fitz-Curraldo and you know, did he get gunned and he was going to shoot him? Because he wanted, because he wanted to walk off the movie and he said, you're not going to walk off the movie because I'm going to, I will kill you and then I'll kill myself. I mean, you thought you were crazy as a, as a young actor. You were fine. You were not, you know, something. Yeah. Who is that? Kinski, isn't it? Kinski. Kinski. Yeah. What? Let's continue our ongoing debate about the quality of your work in Harry Potter. That's, um, we've had over 30s. Oh, snow. Is that what it's about? You just want me to compliment you more, because you're amazing a serious black. But, okay, you've said before to me and others, you've said, you, you call your work mediocre. That's insane. That we're going to leave that behind. Do you have a favorite scene at least? Can you cite like a moment that you felt between you and Daniel that, that you take pride in? Yeah. Yeah. Yeah. I have the scene with Daniel where, um, I talk about that the people that we, we've loved, well, they've loved us live in here and that we carry them always with us. Yeah. That's something like that. Yeah. That, that, that, I loved working, I loved working on the, in fact, I just told a story just very recently, um, you'll remember the rat, the rabbit, the rat, whether there's, there's electronic ones and there's, you know, the sort of, uh, those technical people, the magicians with what, what they can do. But there is a rule, scabbers, right? And he would have to have a break every 50 minutes. And we'd be like, in a scene, he would go, why was, why do we stop? You know, well, scabbers get stressed out. Oh, really? Yeah. And he asked to have a break. So every 50 minutes, the rat, in this scene with the, with the rat, really, I mean, it was scabbers scene. We were just there. It was all about the rat, but, um, yeah, he would have to be, he would have to be taken off. I do remember, I do remember that. And at a certain point, the kids go to school. Right. Where's your excuse? You need a 15 minute break. Yeah. Well, that's actually when the rat kept going out, I kept saying, who's his agent? I mean, he's going, what a fantastic deal. There's rats on. Um, but the, um, yeah, and then the kids, and then the kids would go to school. And I would finish the scene with Daniel standing. Right. You know, and that's, again, okay, this is what it's going to be like. It's the nature of the business, the nature of it. And we, and we just got to, and we just got to get through it. But I, I remember, um, I tell you what, a lovely story about Alan Rickman. God bless him. Alan Rickman, yeah. He, um, not only was he sort of, Alan was kind of like the, the, the, the cheerleader of it. You know, you know, he was, he was into it. He was doing it. So he was with it and committed to it, kind of thing. But he would bring in kids every single day. He would bring them in from a school, he would bring them in from a hospital. He would bring friends and their kids in every single day. And lunch times and things. He would take kids around and tour the sets. And we would meet them. And, um, and he would, he would, I thought that was, I thought that was the most extraordinary thing that he was in this world that he got to be in, you know, and come in every day. And that he wanted to sort of, and he knew how much it meant to these kids, you know, so he sort of wanted to share it. I'll never forget that. He was such a darling like that. I mean, you've, you've worked with so many iconic actors and, you know, by way into the, the Batman films that I want to ask you about working with the, the sadly departed Heath Ledger. And we lost the way too soon. And, you know, you did get to work with Heath obviously. And it's our ignite. And I think of that interrogation scene. Yeah. Him bathed in black. That amazing, silhouetted image of him that Chris created on set. Yeah. Do you have any memories of just like, I mean, he seemed to be on another level on that film. It was Heath. Yeah. Yeah. He's exploding. Yeah. It was a wonder to be honed on the set. Yeah. He was, he was in it. Yeah. You said, like, it did feel like the beginnings of a relationship. I was watching like you, you accepted the SAG award for him, posthumously. Oh, yeah. Yeah. Yeah. Yeah. We, I could see being friends with him. Yeah. And, um, and I remember Douglas, you're, and you told me, you were the one that broke the news to me. Yes. And I was in Atto. Atto. And really, Hoffman. You know, and you just both, I mean, extra ordinary talents. Yeah. Both of them. And to lose them, to lose them like within actually, within a, rather, relatively short. No matter the two actors that this next generation, they talk about the most. I feel like, and you, frankly, I mean, among others. Leonardo DiCaprio has famously said his advice, supposedly, to young actors is no super heroes and no hard drugs. What would be Gary Oldman's advice to young actors? Yeah. No super heroes and no hard drugs. But I, um, be on time. Come prepared. No, the lines. You know, just, it's, that's the minimal, isn't it? I mean, it's like page one. Like, come with, and come with, come with ideas. Yeah. Have a, have an idea. Show it out there. And not every, not always, you know, the directors. Well, you could come with ten ideas. And they may reject them all, they may reject nine and go, you know, that, that's a really good idea. But I, I've, I've noticed a little bit of just people, they don't know the text well enough. And it's not to say that they haven't looked at the lines, but it's, you know, you have, you have to know the material. If you don't know the material, you can't relax and you can't listen because you're in your head going, um, yeah, I've got a line coming up, but you're not, you're not in, you're not in it. Right. You're in your, you're in your own film. That's what else is. Yeah, you're in your own film. You know, so, um, that's always been a big, that's always been a big thing with me. You have to really know the material. And so that you can live in the thing. I'm really, I'm really listened to other actors and, and the people that you're in the scene with. And, um, you know, the craft, just the sheer craft of, you know, hitting marks and camera and where you have to look at sometimes, you know, you have to, I've done it, you know, you have to look to piece of type. You know, you know, is that a bird? Is it a plane? You know, you have to, uh, succumb with imagination. Um, but you've got to, you've got to learn the craft of what you're doing because if you're looking for truth, forget it. guess we all are, whatever creative journey we're on but you know that has to marry with technique and so you know it and then you forget it yeah kind of thing is that makes sense absolutely now I'm gonna be a great actor thanks to that simple tip from Gary Oldman and no drugs and super heroes and oh yeah I've got that down don't worry before I let you go here's a random one we're talking backstage shall we set the record street you don't know who James Bond is do you Gary Oldman please or if you do do you want to announce Jack loud and right here and now okay here's what I said let me tell you and they've taken it's Doug pointed out they've taken it to the very age of almost misquoting me but they but they done I was in an interview and with a Canadian journalist and she asked me about oh you know James Bond and Jack Loudon and I didn't bring it up she brought it up I did not volunteer this and I said well there's a room has it that they've all ready cost bond but they haven't announced it yet which I believe I believe is true there's six people I think on a short list I heard a rumor that they've picked James Bond but they haven't announced it yet which is their prerogative you know not for me to announce James Bond and I simply said because they brought up Jack and they know that he's on the shortlist Jack Loudon and I said yeah I hear that they've I think they've cast it but obviously we're waiting for them to announce it I said fingers crossed for my mate Jack that was it it's confirmation as far as I'm concerned and it made it nice I like I've got like I actually know and that I've got a I'm in with the I'm in with the Bond people like I've got I'm on I've got a red phone from you know so let me please put the record straight I do not know who the next James Bond is I remember I got it a lot of trouble because I said that there was going to be a third Batman and they hadn't announced it boy and I got reprimanded for that I got into a lot of the ownership for that so even if I knew who even if I knew it was who the James Bond I wouldn't I wouldn't I've learned my lesson I'm not going to welcome my mouth so I do not know who I'm hoping it's Jack yeah and I'll just say for the record look you've kind of left your baddie period behind but maybe one more but you know Bondville and as Gary Oldman would be really awesome no no not just to drag some bomb villains you don't want the white cat you don't want the whole thing okay no I've never never no we've said there was an inquiry I'm sure back when I think peers so James and not not not not for me not a Bond villain okay no but Jackson Lamb for him we're gonna I'm just I keep going with Jackson he is keeping here you are going because you've already shot I wouldn't say season seven is coming we know that and perhaps more we'll see we don't know but yes season season seven is in the can come on great yes but before season seven I'll remind folks Apple TV it's September 16th season six I've seen it all it's fantastic congratulations and it's just not to be saying that when this was announced we requested Josh because this is really is the best you've just made 14-year-old Josh whose favorite actor was Gary Oldman very happy I'm still talking about your work that's next time we're out of time ladies and gentlemen give it up for Gary Oldman never got it come on and so ends another edition of happy sad confused remember to review rate and subscribe to this show on iTunes or wherever you get your podcasts I'm a big podcast person I'm Daisy Ridley and I definitely wasn't well some are maybe over but things are still hot on turtle time goodbye next year and why see goodbye the valley will see a next year but now turtle time is gearing up to cover some of the most beloved franchises in the bravo universe turtle time is covering real housewives of Salt Lake City real housewives of Orange County and real housewives of Potomac Salt Lake City Orange County Potomac these are wonderful franchises could you imagine what Amy and I are going to say about them you'll hear some of the hottest takes you've ever heard in your life you'll feel like it's still summer oh these will be hot takes fall and winter great job trying to cool things off no it's still hot over on turtle time you're gonna get that summer warmth so put away your bathing suit put away the sunscreen summers over but you can still feel hot hot hot by listening to turtle time some of those other podcasts you know it's fall or winter when you're listening to them but turtle time it's kind of like summer it's hot so enjoy the turtle time podcast co-hosted by me Riley Hamilton and Amy Scarlotta and it's available almost every single day of the week better luck next time fall and winter