VOCAL EXERCISES
Red leather, yellow leather, red leather, yellow leather...
Peter Piper picked a peck of pickled pepper...
Hello, Joan. Hello, darling.
Do you want me to sit here?
No, no, just stand on this side.
God almighty, leave me alone.
Would you mind taking another step to your left? To my left?
Hello. Pleased to meet you.
INDISTINCT TALKING
We look awfully odd...
LAUGHTER
Oh, that's an awful angle, Mark. It really is.
It's not fair to old ladies.
Why are you doing this?
Why are you doing that?
You've got to start somewhere.
Is it your first day?
You've never done it before?
I don't think so. Give him a break.
Look, see how Judi does it.
I'm never going to speak to you again.
You are not my friend, Mark.
I'm never going to speak to you again.
I never want to see you again.
Oh, no, don't be grumpy!
She's not being grumpy, she's being starry.
Are we ready to go?
I think we've been. We've been.
Now, if anybody wants to lie down, ladies.
I'm here, darling.
How far away?
Not far away.
Just round the corner. Right.
I want to start with when you first set eyes upon each other.
Judi, can we start with you?
Oh, God.
Yes, but...
Has anyone got a memory? Let alone a...
Oh, God. Well.
I think I met you, Mags, in about 1958.
I think so. We did The Double Dealer,
we went to Edinburgh, to the Festival.
We got pursued by Miles Malleson.
Did we do that in Edinburgh?
Yeah. We did it at the Festival, don't you remember? No.
Yes, you and I had to hide.
It's gone, it's gone. We had to hide between the two shows
cos of Miles Malleson.
I didn't know we were in Edinburgh.
Were we good?
No, I don't think we were.
Too long ago.
I remember you saying, Mags,
that you'd been discovered and rediscovered.
Yeah, I'm still hanging in for that.
LAUGHTER
Who saw Share My Letters?
Joan, did you see Share My Letters?
Well, yes. You weren't listening.
I've just told you. She has!
I was feeling depressed at the time and friends said, "Oh,
"we'll take you out, to somewhere that will cheer you up madly.
"It's Kenneth Williams, he's very funny, as you know."
And there's this new girl.
And that was the new girl.
Would you say Kenneth had been quite a big influence on you?
An enormous influence.
I mean, I pinched from him all the time.
Can you give us some examples?
Well, in Black Comedy, I'm doing a complete Kenneth.
I mean, it's outrageous, he hasn't seen it, he'd be livid.
You know, that awful Mrs Panic.
Who keeps whistling like that.
It's pure Ken.
Eileen. Tell us a bit about baby Eileen.
A gypsy told my mother I was going
to be a dancer and she kept sending me to dancing lessons,
and I kept screaming and wanting to come home from the age of three,
and finally at five, I seemed stuck there.
That particular dancing school was called the KY School,
and we had it on all our clothes.
K, Y.
My brother played the drums there and his drums had K, Y on it.
Never knew why people laughed slightly or looked the other way.
How sad.
And I danced in working men's clubs, two or three times a week.
Until my grammar school said, "She falls asleep in school."
Because you were up all night doing these things?
Yeah, yeah. Well, it was paedophilia that, really.
Little girls up there.
And what, did you decide just that you didn't want to do it any more?
I did my first play when I was ten and kept telling my mum from then on
that I didn't want to dance, I was going to do this other thing.
We all just thought we were going to be stage actresses.
Yes. Yeah.
JOAN: Did you start off with lights and make up?
Five and nine. Five and nine.
Five and nine was the men's make-up.
I wore dark Egyptian in one thing.
Peter Pan. Five and nine was really the men's make up, wasn't it?
But you added a bit of three or two and a half to it, if you're a girl.
And a big red spot in the corner of your eyes.
Absolutely. Oh, yes.
The red spots. Crimson lake if you were being aged.
Yes. Yes, lines of crimson lake.
People coming out of drama schools
years ago wanted to go to
Bristol Old Vic or Oxford or,
several of us had a really good rep.
It was a thing, wasn't there?
Where you went to reps and you stayed in digs and things.
If the landlady wasn't very nice or didn't do something,
you used you nail a kipper under the table before you left.
Yes! It's true.
Tim West went home one night to a darkened house,
letting himself into the back, into the kitchen.
And the landlady...
..was having sex with a man on the table.
And she was right out lying, and as he opened the door, she went...
"Oh, Mr West.
"You must think I'm such a flirt."
On the table? On the table.
Unaware there was a kipper attached to it.
There was a kipper...!
How ghastly.
Let's go over here!
I went straight from the Vic to do The Cherry Orchard.
Which was with... Oh, that was in...
..with Michel Saint-Denis.
And Peggy and Sir John.
Who, who was the...? Michel Saint-Denis, was that?
And he was really, really unkind.
He used to come to the end of act one and then he'd give notes
and he would give a note here and give a note there
and he would give a note there and he would get to me and go...
Oh, horrible.
Peggy I remember said to me,
"To think I nearly married that man," she said.
And then she said, "Never, ever let him see you cry.
"Never let him see you cry."
One day, we got to the end of act one
and he used to give the notes then.
Sir John said, "Well, if you'd been doing that for me,
"I'd be delighted," he said.
And it changed absolutely everything for me.
It just entirely changed my life, really, as far as, you know,
the fear of directors, because the more you get frightened,
and somebody goes like that, the less you can do, you can't mend it.
Goodnight, Uncle. God bless you, Little Anya.
I was at the Old Vic Theatre School
run by Judi's friend Michel Saint-Denis.
Oops. And George Devine,
and it was George who asked me
to join the company for what was called the English Stage Company,
but it just became known as the Royal Court.
Michel Saint-Denis had been told
that they were asking me to join the company.
And Michel had said,
"She can't play queens, you know?"
And George had said,
"I should think the last thing
"we want in a theatre for contemporary writers
"is girls born to play queens."
LAUGHTER
I thought we were going to sing.
It's very wet.
Shall we sit under the table?
BOTH: # Timothy's under the table, be careful what you say
# Timothy's under the table, so look the other way
# You can tickle and squeeze as much as you please
# But don't you go too far
# Because Timothy's under the table and he's bound to tell his ma. #
Why do I remember that?
What is that? It's the musical we were in, Hark, Hark, The Fart.
Listen To The Wind, it's called Listen To The Wind.
Yes. It's a terrible, terrible title. It is a terrible, terrible title.
Ronnie Corbett as Hark, Hark The Fart.
RECORDING: # Timothy's under the table
# So look the other way
# You can tickle and squeeze as much as you please
# But don't you go too far
# For Timothy's under the table... #
Why did we start on that?
# He's bound to tell his ma. #
Cleopatra.
Maggie, talk us a bit about...
I'm not going to talk about Cleopatra.
Right. Did you star?
You? Nuh-uh. Why?
I... Nobody... Ha.
I'm in the clear with this one.
SHE GASPS
You bang on. What do you mean you're in the clear?
You talk about Cleopatra. I turned it down four times because
I thought I wasn't good-looking enough.
That's the end of my story of Cleopatra.
And what are we meant to say about that?
What...? What are we meant to say to that?
Oh, Eileen, how stupid of you.
What a fool!
Not good-looking, that's a silly word.
I don't know, no, I didn't have the courage.
There you are. I didn't have the courage.
No, neither did I, that's why I did it in Canada.
Yes, you did it, though.
But you did it.
I did... I didn't have the courage,
I was asked by Jonathan Miller to do it.
I just said I couldn't possibly do it at the National,
because in my own mind, I wouldn't be first choice.
Half of them will say, "Oh, my God, you know,
"she shouldn't be playing Cleopatra.
"Cleopatra is supposed to be a great beauty."
So that's the first stumbling block, isn't it?
But you said a marvellous thing, Judi,
when you were asked to do Cleopatra.
Do you really want...? Now you go on with it.
What?
She's forgotten. I can't remember what I...
I just remember people laughing openly, apropos of what she said.
When I said I was going to play it and it was announced,
people laughed openly at me.
But you said to...Peter Hall, was it, in charge?
Do you really want...? Do you want me to say it?
A dwarf. Yes, I do.
Menopausal dwarf!
That's it. It was very funny.
"Are you sure you want
"a menopausal dwarf to play this part?"
Exactly. Absolutely true.
That's what she was.
That's what she was! Quite.
That's the way I played it. It's true.
Where is the fellow? Half a field to come.
Go to, go to.
Come hither, sir. Good Majesty,
Herod of Jewry dare not look upon you but when you are well pleased.
That Herod's head I'll have.
But how when Antony is gone,
through whom I might command it?
There's gold for thee.
They assume, I'm talking about critics,
that we all think we are the king's knees.
The bee's knees.
And will take on these parts.
They don't realise that we're shaking inside.
Right? That's absolutely true,
because that's two of us didn't have any courage at all and not do it,
and there's Maggie nervously doing it in another country
and Judi shakingly did it.
Tony Hopkins on the top of the monument used to say...
"I'm going now for a nice lie down while you do act five."
And that is what it is... There's a lot of rest before act five.
There is a bit of rest,
there's Pompey and all that.
It's long enough to lose the thread.
We used to be up in that monument,
when you're up there for a long time.
And Miranda Foster and Helen Fitzgerald used to say to me,
"What would you really like to eat now?"
And I would say, "What I would like now is a glass of champagne
"and a lobster salad."
And on the last, very last night,
we were in the monument,
and they said, "What would you like?"
I said, "Oh, lobster salad and "champagne."
And they went ping, with a light...
..and there it was. And we had it.
I found it very difficult to say "To the monument,"
because it's like a tube station.
Isn't it?
I wasn't good at that.
"To the monument," I thought, "No, I'm sorry."
I'd rather not say that.
But wasn't it Mags,
Darling Mags Tyzack,
she couldn't get her head round having to say, "I am for Argos"?
What was she doing?
She was doing that...
You can't, can you?
It's ridiculous.
I've never not known an Antony complain,
because I think they found out that really it's Cleopatra's evening.
Rather more than Antony's.
I think Cleopatra is a better part than Antony.
And I think the men never know until they are in the middle of doing it.
I see. I know Alan Bates told me that, he said,
"Halfway through I realised."
That's because he wanted to play Cleopatra.
Something of that in it, absolutely.
Can't win.
INTERVIEWER: Can you talk a bit about naturalism?
When you started out, were people much bigger in their performance?
Well, I thought I'd done a very naturalistic...
..performance in The Duchess Of Malfi on television,
then a couple of years ago I was at the Globe and they were doing The
Duchess Of Malfi in one of the other Theatres,
and one of the cast came up to me and said, "Yes,
"we watched your old television of Malfi.
"Of course that was all right in your day
"but we're going to do it naturally."
Why should only I,
of all the other princes in the world...
..be cased up like a holy relic?
I have youth and a little beauty.
So, you have some virgins that are witches.
It's a different form of naturalism each time, isn't it?
I mean, each generation thinks
they have found the natural way to do something.
No, be assured you shall not find me daughter after the slander of most
stepmothers, evil eyed unto you.
You're my prisoner but...
Ah, yes. You're my prisoner but your jailer shall deliver you the keys
that lock up your restraint.
Oh, you've done it. You've done it, that was perfect.
That was absolutely perfect.
That will never happen again.
No, it will, darling. It will.
It's always very difficult for me to hear Shakespeare...
..being done in a natural...
..natural way.
With pauses anywhere they like, and, "Uh, uh, uh.
"Um."
Because they think it gives
the impression that they are thinking of it
absolutely of the moment.
But I mean, you know,
Shakespeare is poetry.
And it does have a rhythm and it does...
And there is a way of being,
of using the poetry and being naturalistic.
Yes. And that seems to me, if it's done, things are changed, and
broken up, it seems to me to be
losing entirely out on the other side of it.
Yes. Exactly.
The quality of mercy is not strained.
It droppeth as the gentle rain from heaven upon the place beneath.
It is twice blessed.
It blesseth him that gives and him that takes.
Tis mightiest in the mightiest.
It becomes the throned monarch better than his crown.
It's like you bring it down to you and your size,
instead of reaching up...
..to something that's a bit...
Well, I think it would look pretty rum
if we all did it as they did it way back.
Pre-Laurence, I am talking about. I quite agree.
I mean, it would look a bit quaint, wouldn't it?
You have to move with the times.
That would seem to us like hollow booming.
Well, I, yes, I think it does frequently sound like that now.
But there's...a middle ground.
There is a middle ground.
Ill met by Moonlight, proud Titania.
What, jealous Oberon?
Fairies, skip hence. I have forsworn his bed and company.
Tarry, rash wanton.
Am not I thy Lord?
Then I must be thy lady.
Why art thou here?
Come from farthest steep of India
but that forsooth the bouncing Amazon,
your buskined mistress and your warrior love,
to Theseus must be wedded and
you come to give their bed joy and prosperity.
It had been announced that Larry
was to be director of the National Theatre, that had been approved.
I can remember, I had the feeling of going almost every week.
It's very exciting for other actors in the profession,
as well as those of you in the company.
Yes, and Maggie,
I mean, you moved in there,
despite your nervousness about...
Yes, I did. Well,
I think I was more nervous of Laurence than the critics.
What?! I was more nervous of your husband than the critics.
I must admit.
Well...
As indeed everybody was, Joan.
I don't think you ever showed it.
No, everybody was.
We were terrified.
Your name, my dear?
Wilful, Jack Wilful at your service.
The Kentish Wilfuls or those of Staffordshire?
Both, sir, both.
I'm related to all the Wilfuls in Europe,
and I'm head of the family at present.
Do you live in this country, sir?
I live where I stand, I have no house or habitation
beyond this spot of ground.
What are you, sir? A rake.
LAUGHTER
In the Army, I presume?
No, no, but I intend to enlist immediately.
WHISTLES
No, he didn't scare me all the time.
No, you scared him.
I think I scared the wits out of him from time to time.
A merry war, let us say. A merry war.
Because I know I remember you telling me that he had come in
and said you were too slow and you bored him off the stage.
No money and no luggage either.
Not a thing in the world.
What is more, I don't care.
I am here and I don't care.
I like you for that.
Only for that? No.
LAUGHTER
Not only for that.
You went on the next night and you went so fast that he was befuddled.
I went so fast he didn't know
whether it was Wednesday or Christmas.
He could have gone into Richard III without any trouble.
I got him really, really rattled.
Didn't he tell you that your vowels weren't right?
Yes, he did. But I'm... And what did you say to him when he...?
What did you say? Oh, I used to... Put his eyelashes on.
No, he did tell me my vowels, which, they're still dodgy.
'Twill away again.
Let me but bind it hard.
Within an hour, it will be well.
So I went in to help him with the eyelashes
and he was sitting there in all that gunge,
and I said, "How now, brown cow?"
And all he said was it was...
"That's better," he said.
Anyway, he got very cross with me
because I wouldn't do Skin Of Our Teeth.
Yeah.
Yes.
"Out, devil", he says.
By my troth, I'm glad on't...
But he did knock me out.
Well, not quite. He did!
Mad? Why, sweet Othello...
Out, devil!
He, he hit me.
"Out, devil!" And I had...
I was left with some black marks on my face!
Oh, dear.
But I did say it was the only time
I saw stars at the National Theatre.
Those were the days, eh?
They also had the lights put up a bit higher when he came on.
When he came on, yes.
But you... You could... If you went like that, you got into it.
But you had to...
..had to make sure you could get your head in.
Darling Frank Finlay.
Yeah. He came off one night and he flew to the prompt corner and he
started tearing at his eyes.
Oh! And I was so, so alarmed.
I thought, "What, what's happened?
And he was wearing...
He'd never worn them before, he had contact lenses.
Oh, yes. And he said,
"I have just seen Sir Laurence
"and I never want to see him again!"
He couldn't, he couldn't get them out!
Can you imagine anything...?
Because he couldn't see his hand in front of him, could he, Frank?
Poor man.
Well done, I think we are done.
Yeah. 11, take one, A mark on the end.
The tunnel.
The tunnel. We are in the tunnel.
We got the cottage as a halfway house
between Brighton and Chichester,
when Larry was running Chichester Theatre,
because getting out of Brighton took such a long time in the summer with
all the crowds of visitors.
And also, we needed some country, country air and space.
When we first came, there was just the central part, a little cottage,
still with a few Elizabethan stones in the wall.
And the cottage was surrounded by nettles,
just nettles,
all around this...
And the field.
Absolute... Some of them shoulder high.
ALL: # Happy birthday to you
# Happy birthday to you, happy birthday dear... #
I wish he could have played tonight.
Why tonight? It's his birthday today.
His birthday? Yes, today!
But I'm not going to tell him until tonight.
Doesn't he know it's his birthday? He hasn't mentioned it. Ha!
Tell me...
..are you going to have a party?
A party?
Weren't you going to have one? No.
Well, of course you must have one!
We'll have a party, eh? What do you say?
Oh, yes! Yeah, we'll give him a party!
Leave it to me. Oh, that's wonderful, Mr Gold...
Berg. Berg.
You like the idea? Oh, I'm so glad you came today.
Well, if we hadn't come today, we'd have come tomorrow.
Still, I'm glad we came today, just in time for his birthday.
I wanted to have a party but you must have people for a party.
And now you've got McCann and me.
McCann's the life and soul of any party.
What?
Speed.
So...
Take one on the end.
I like the way you consider what was written on the cushion.
Well, yeah, because, you know...
I'm sure we look natural!
Do we?
Oh, dear.
When have we ever sat like this?
When have we ever sat...? When have we ever sat like this?
Not even in a play, have we? Is it too horrible?
No, of course it's not. Well, it's a funny sort of...
It's fine. It's a prop. It's fine.
It is, it's a prop.
I think it was pinched from The Three Sisters!
You're right, it was, it is from The Three Sisters.
From The Three Sisters, isn't it? Yeah.
GIBBERISH VOCAL EXERCISES
Look at them all looking bored over there.
Are first days still scary?
First days on a film set or first days...?
All days, all days are scary.
Yes! No, that's true.
It's absolutely true.
I don't know why people assume that it is any other way.
It's just...
It is, it's scary and it is every day on a film, isn't it?
Five, let's shoot please, turn over.
OK, and action, everybody!
It's certainly every day on a film set,
because you haven't done it before. I know.
Filming is very scary because there are so many people...
..involved.
But it's the, um...
Everybody kind of waiting with bated breath.
And if you get it wrong, there's a lot of silent...
Looking at each other. Looking at each other and the eyes roll,
and there's a bit of...
Heavy breathing!
"Are we really going again?"
I wasn't actually allowed to go to films.
They didn't approve.
I used to get claustrophobia.
But that horrible smell in the...
..in the carpets that sank down.
I think I saw Hamlet when I was at school.
Yes. And Henry V.
Yes. Well, we were allowed to do that.
We were made to, weren't we?
This is true! We were made to
because we all had to fight for our country.
I had a great aunt, great-aunt Sarah, I think she was called,
I only met her once. She lived in Dublin and she was like a bird,
a tiny little bird.
And, erm, she once said, "I'm not going,
"I'm not going to films any more because the seats are too narrow".
She never knew that you actually put the seat down!
She just sat on that little narrow bit. I don't believe you, Jude!
She sat on that?
It's a fact. Mind you, we all did as children.
Perched.
The next door neighbours took me to see,
now, this is really frightening,
erm, The Jazz Singer.
Al Jolson? No, it wasn't Al Jolson.
Close but no cigar.
It was Larry...
Not Olivier, Larry Parks?
It was so long and so boring, I thought...
I didn't enjoy it at all but I got home and my father was very, very,
very cross. Was it not suitable?
No, because it was a Sunday and it was, you know...
Oh, yes. You weren't allowed to do anything like that.
So it kind of put me off a bit.
So after that, the first thing I saw was Hamlet.
And that was just as scary.
Just as scary.
I've never known my father as cross as he was that day.
Adieu, adieu...
Remember me.
What did your parents make of you going into this job?
What did they make of me going into this job?
Well, I think they were a bit puzzled.
How did you begin in the theatre?
Did you act at school?
The very first definite step was, was when I was still at school.
They had a frightfully good thing that when you'd finished, you know,
General School Certificate,
you usually had about two weeks at the end of term
which was kind of dead time.
And I immediately went to the Oxford Playhouse.
In The Letter, I think it's The Letter, I played a Chinese boy.
Oh, is that...? A Chinese boy in an opium den.
Of course you did! In an opium...
Yes, of course I did.
Right at the beginning of The Letter,
I was "The" Malayan woman.
And you were like a child.
And... A Chinese boy.
God, can you imagine my make up?
Oh!
You don't have to make no weather for them, they come easy.
No, we know where the money lies.
They say the hell we do but workers have got it.
All right, then, let's give them what they want.
If they want words of one syllable, we'll give them that, then.
If they want the third rate blast, we'll give them that, then.
Anything's good enough for them because they don't ask for no more.
The whole stinking commercial world insults us and we don't give a damn.
Well, it does serve us right.
It is our own fault. We want the third rate and we've got it,
we've got it, we've got it, Vic!
Roots, Beatie Bryant.
Such a leading part that hardly exists anywhere, you know,
Beatie is the centre of attention,
is the centre of the story instead of being, you know, on the side,
the decoration bit, the support.
The female is absolutely at the centre of it.
Erm, and it's that feeling of elation...
..exhilaration when you know you're in charge.
Oh, yes. ..want you to do anything you thought wrong.
No, no, I have too much honour to desire it.
Don't you think we may as well leave honour out of the argument?
Ah! "We are not in the first rank of world beauties".
Yes...
That's what my mother, who sent me off to the Old Vic Theatre School...
..saying, you know, OK, you're on your way out there.
"You're no oil painting, my girl,
"but you have the spark.
"You've lovely, expressive eyes and, thank God,
"you've got my legs and not your father's!"
Madam, I'll sing.
I was very lucky, in the way that your mother said that to you,
and it was the schoolteacher who was encouraging me to go into the
theatre, and he invited an actor to come and see me, to ask his opinion.
And accidentally, I heard him say,
"I don't know what to do about her.
"I think she's probably...
"..a very good actress, or could be.
"But I'm worried about her looks
"because she's not what you would call pretty."
I was listening to this,
quite happily, actually.
And then he answered,
happily for me, which has kept me
going throughout the whole of my career,
"No, no, she's not conventionally pretty in any way.
"But do you know what?
"She's sexy."
Ah!
I spent two days the other day trying to remember Andre Previn.
Gone... I could not think of his name.
Isn't it so easy?
I don't know what I'm doing. What did I do last weekend?
"Lucy used to borrow from a woman
"who wore gaiters and galoshes and those plastic mackintoshes,
"and a rather grubby husband that she only wore on Sundays."
Why do I remember things like that?
Where's that from?
One of those Oxford revues.
"And a rather pallid husband that she only wore on Sundays,
"when she sat behind the teapot,
"handing fancies to the vicar!"
I don't know. Where does it all come from?
Kind of jammed full of rubbish, my head.
Very difficult.
Has anybody said go?
Yeah.
Oh, go! Yeah.
What's the play? What's the part? And that's that.
Can you remember the first time you came to this house?
I was with very small people, small children, and I've got a picture of,
of Joan just vanishing into the room downstairs,
and that wonderful lime walk out there
was this high.
Where it's all overgrown now.
So it was when Richard was tiny and Chris was tiny.
Babies. A lot of babies.
I can tell you a story about
Richard when he was a very small person.
In the hall, there was a dumb waiter.
And Richard, as a small person, used to just nonchalantly post any mail
that there might be down there.
And one, one Christmas, I remember Larry standing over him...
..because he'd...
He was, Larry was...
Beseeching this child in his...
Because he couldn't find the keys to the bar that was at the end of...
And he saw Richard looking a bit furtive...
..and he was leaning over him, saying, "Where
"are the keys to Daddy's num-nums?"
And we thought it was wonderful that...
This fantastic actor was reduced to saying...
Num-nums. "Where are the keys to Daddy's num-nums?"
I think he posted them down the wretched thing.
Anyway.
I suppose...
That's what it was all about in those days, the children.
Very small people running around.
Why are you so tanned?
Is that from Cornwall? Cornwall.
Doesn't happen to me.
Mamma thinks I'm living in a convent...
..a secluded little convent...
..in the southern part of France.
Mamma doesn't even have an inkling that I'm working in a nightclub...
..in a pair of lacy pants.
So...
# Please, sir
# If you run into my mamma
# Don't reveal my indiscretion
# Give a working girl a chance. #
I'm trying to think how old I was in the '60s. 34, 44...
So, oh, 26 at the beginning of the '60s.
I think, I think that I thought it
was much more to do with being in the theatre and, like, and it was...
..fun and things were loose.
I don't know, you know. Perhaps we swung a bit early?
I think we did. Do you think?
I'm sure you and I did.
I'm pretty sure we did.
I... We were swinging... I guess I was swinging at the end of the '50s.
We behaved pretty badly, actually, Judi.
I don't think you and I needed the '60s.
My courage, tried by combat, if thou dar'st,
and thou shalt find that I exceed my sex.
Resolve on this.
Thou shalt be fortunate if thou receive me for thy warlike mate.
MUSIC: Not Fade Away by the Rolling Stones
# I'm going to tell you how it's going to be
# You're going to give your love to me
# I'm going to love you night and day
# You know my love not fade away
# Ah, well, a love that's love
# Not fade away
# My love bigger than a Cadillac
# I try to show it and you drive me back
# Your love for me has got to be real... #
Come on, love. Let's be having you.
Stinking copper! Filthy, stinking copper!
I sat down in Trafalgar Square with Vanessa.
So did I. And then Vanessa got arrested
and remembered she had a matinee.
I sat down with... It was probably the same thing.
Julian said we all...
I was married to Julian Glover then
and we all sat down and first of all,
John Osborne was taken away and then Vanessa was taken away...
So Terence was... And you were probably...
Were you taken away?
Oh, no, I hid. Well, no... You hid.
Well, Julian went away and
I thought, "I've had enough of this",
and I got up and went home.
And I remember buying some crumpets on the way home, and...
..Julian was furious with me because
he spent a night in the cell
and came back the next day and said, "What happened to you?"
"Where were you?" And I said, "I suddenly thought of...
"I wanted to go home."
We weren't allowed...
Sometimes at home, to talk about politics or religion.
When you were young? Yeah.
No, nobody spoke about it in my house at all.
Not much.
No, I don't remember debates at school or anything.
You went away to school, didn't you?
Well, I was at boarding school in York, which is my home town.
But I still had to stay there, you know.
The Quakers. I loved it.
Let me see.
Oh, good grief. This is from your
film archive and it is of the mystery plays.
It hasn't got any sound but we think...
What year? '51 or '52.
Well, if it's '51...
Oh, wait a minute! Is that you?
No. Now, wait a minute.
Can I have it very close? Yes.
Oh. Erm...
Who is that? Oh, I wish I could see.
I'll try and freeze-frame.
Yeah, that would be good.
We wondered whether that was you, there.
That's what I wondered.
Can I just look closely? Yes, yes. I can't see.
May I ask, did you have tits, even then?
Well, that person has.
Because you have very pretty tits there.
I don't think I had them like that.
How old were you then?
Erm... They're tiny, there.
In '52. No...
And you were 18. 18. Yes, yes, yes, that's you.
OK, just play it a tiny bit on.
You have an awful wig on.
We all had them, those gold wigs.
There is everybody going in to see it with their rugs, look.
So this was in '52? St Mary's Abbey.
My father played Annas, the high priest.
My ma made the costumes.
Oh, look. And there's lots of behind-the-scenes shots.
God, I remember that,
climbing up there and we were all in these great big arches.
Do you know what colour dress you had?
It's... White. All white with gold...
All white. With a gold collar and gold wigs.
And is that you there, then?
I don't know. There's a bit of horsing about going on, there.
A sort of costume change. Oh.
Oh, costume change.
Oh. Oh, these are all devils.
These are all devils.
Is that thunder? Oh, that's the thunder sheet, yes.
Yes, yes.
Eileen, you wanted this. Oh, thank you, darling.
Oh, gosh, it's so... Oh, now, that's where we were.
That was me. That was just cos...
Cos a maybug flew up my sleeve.
A maybug? And white coffee.
Do you want any sugar?
David Charles used to say, "With all that is revealed,
"we worship thy will, thou glorious God that is ground of all grace,
"with steadfast song let us ever stand still,
"to be fed with the food of beholding thy face".
A wonderful man called Alfred Bristow used to say,
"When hadst thou, Lord,
"who only saw hunger or thirst, since God art thou?"
Bits of it I can remember really clearly.
There we are.
Oh, my word!
What wonderful footage.
What a lovely thing to have.
OK, so you're going to head towards the step.
Here's the door. Shall I put your hand on the frame?
I've got you.
I did not sleep last night.
You know that awful thing when you don't?
Everything was going round in my head.
Who was the first dame?
Joan, were you the first dame?
No, I wasn't.
Jude was the first.
I was putting down the red carpet for all my friends.
You phoned me when it happened to me and you said,
"It doesn't make any difference. You can still swear".
Yes. Do you remember? You can swear more.
You can swear more, yes.
Just try and do it privately.
I won't do it now.
In America, though, they call you Dame Plowright, don't they?
Yeah. And Dame Smith and Dame Atkins.
And Mrs... Mrs Dench.
Mrs Dench!
I was with John Standing, when you went through an airport,
and they do all that thing with your passport, and they said to him,
"Have a nice day, Baron".
Because he is a baron!
"Have a nice day, Baron."
I said, "What is that about?"
It's Baron... What are they supposed to say to a baron?
I don't... Baron. "Have a nice day."
INTERVIEWER: Did any of you consider
not being a dame when you were offered it? Was it...? Yes.
The letter got lost in the post so I suddenly got a phone call,
saying, "Are you or are you not?
"What is your answer? We haven't received it."
And so she told me over the phone, and I, I said, "Oh, oh, I don't...
"I don't know what to do.
"I don't know what to say."
And she said... I just remember her saying, "Oh, do say yes.
"Do say yes." But then I asked for some time to think about it.
I don't know. And then I was just pleased as punch that I did it.
The most excellent Order of the British Empire,
to be a Dame Commander, civil division,
Dame Eileen Atkins, for services to drama.
I was just so thrilled that my father was alive,
but that's mostly the point, isn't it? Yes.
It's for, for other people who've helped and...
..got you where you are.
It's not really you.
The Order of the Companions of Honour,
to be a member, Dame Maggie Smith, for services to drama.
I think it's much nicer being a lady,
which you were before being a dame.
Well, darling, it's quite difficult when you've got two titles.
Some people don't know which to use!
You'll have to grapple with it, Joan.
It's so much nicer to be Lady somebody than Dame.
Oh, darling, is it?
I'm not sure about titles at all, really.
I have a feeling that...
Russia's way of calling you a people's artist...
But you, you, you accepted it?
I did because everybody else had!
Did you feel left out?
It's a kind of acceptance, isn't it, of work achieved?
Dame Joan Plowright, for services to drama.
I remember Joan saying on Tea With Mussolini,
and they said something like "dames" and Joanie said, "No, one Lady,
"two Dames!" I remember that very well.
That reminds me, Judi, of walking the streets of Rome,
trying to find a hotel.
I'll never forget it.
Oh... And we got into the hotel and you were shown to your room,
and somebody was showing me to my room.
Oh, this can't be right.
And as I got my room, you appeared around the corner, and you said,
"We're not stopping here. It's a... knocking shop," you said.
It's a knocking shop! And it was 12:30 in the morning.
I'll never forget it.
And nor did we stay there and we all landed up together, didn't we?
Yeah, well, we went... You and I went along to the Grand.
Yes. And I said...
You went round the whole of Rome.
Oh, but Joan...
You asked at the Grand.
"Do you have any rooms?"
And he said, "Madam, we have 150 rooms."
We did. We went to the Eden and do you remember, in the bar at the top,
you weren't allowed to eat there?
We used to go and have drinks and drink a whole...
And play Scrabble. ..bottle of Prosecco, yes,
and then try and guess where our rooms were.
Oh, well,
we're not supposed to be talking about this.
No, we're not supposed to be talking about things like that.
Reviews. You don't read them.
No. You certainly don't read them.
Reviews... Somebody will always tell you, won't they?
Oh, yeah. Particularly if it's dreadful.
Because Caryl Brahms, years and years ago...
Oh, I was just going to say Caryl Brahms. When...
Came up to me at a party
when I was about early 20s and said,
"I'm so sorry I had to be so cruel to you."
And I hadn't known, and I didn't know what she was talking about.
Of course, that was the nicest way I could have answered her.
I mean, it was a good thrust back.
I said, "I'm sorry, I don't know what you're talking about."
And that... But it was genuine,
I didn't know what she was talking about.
And after that, I thought, "Oh,
"you must check up on what's said about you".
Well, I think that's not wise.
Madam, I'm here. What is your will? This is the...
She said about me as Juliet, she said,
"A good try but Rosalind Iden should have been playing the part."
Oh, well! Off the mark. Who said that?
Caryl Brahms. It's funny, isn't it, how...?
That is 1960.
It's funny, now, isn't it, that you should remember it?
You remember the bad ones, if...
Yes. Best just to not to read it.
You kind of know. Robert Morley come in and leaned against the dressing
room door, and said,
"I understood you were the darling of the intellectuals.
"Kindly explain the half-empty house this afternoon".
Oh, God! And then next time he came, he said,
"Should we do something worthwhile together at the Royal Court in the spring?"
Talk more about getting old, if you will. You all seem terribly young.
I thought we were acting it very well. BLEEP, Roger!
Frankly, frankly...
Let's say, it's a good job I've got hearing aids in and I can
hear what is being said. And me.
Hands up who hasn't got a hearing aid. I haven't. Apart from that... You need to get them.
I do. BOTH: You need to get them, Jude!
THEY LAUGH
And then there is the question of sight loss.
Well... Yes, darling.
Have we got three eyes between us all?
Because I was saying something about, "Oh, well,
"we could give these things round to read."
Or...no, Roger said that.
And I said, "There's nobody who can read."
Who can read!
SHE LAUGHS
Judi said she's got to have it in huge print.
I've got to have... Do you find, though, that, erm...?
Do you know what I really don't like?
That people, after a certain age, go,
"Um, can..." Oh, yes.
I can't bear it. Don't...
If I can't do it, I'll tell you that I can't do it.
I mean, warn me about steps and things, but, you know, erm...
It's just, there's a very, very delicate line because you need help,
you need help, but I don't...
It's like, erm, when I was stung on the bum by a hornet last year.
Yes, and that awful...
Yes, say. And somebody, a paramedic walked into the room,
who was about 17, and he said, "What's our name?"
Oh! So I said, "Erm...
"Judi, my name's Judi."
And he said, "And have we got a carer?"
And I...I blew my top.
I blew my top.
I'm afraid, I completely blew...
I mean, I will tell you what I said. You can't probably see...
I said, "BLEEP!"
I said. "I've just done eight weeks in The Winter's Tale
"at the Garrick Theatre", I said.
Quite right! I was so angry.
That's the kind of thing...
Have we, have we got...?
"What's our name?" I know. Awful. That doesn't change, does it?
It doesn't change if somebody says, "What's your name?"
If you want somebody to say that, you say, you know...
You don't... You don't put it in a kind of person that's...
An invisible person who's standing next to you.
I don't like it when people ask if you've sorted your funeral out.
Oh, Lord! Do you remember, Miriam asked you that, Miriam Margolyes?
Because she's got a lot to sort out.
She said she'd sorted it all out and knew exactly what she was going to
do, and then she said to you, "Have YOU, Judi?"
And you said, "No, I have not." And she said, "Why?"
And you said, "Because I'm not going to die."
THEY LAUGH
Which I know is true. Pathetic, talk, isn't it?
Well, it's a very chilling moment.
But she's got it all organised, and lots of people do.
And we don't. Shall we talk about something cheerier?
Right... Let's talk about...
Yes, I think so.
OK.
Here's something cheerier. Can you talk about
working with your husbands?
Well, there's a dead silence, there.
I was just trying to think which one?
Which one?
THEY LAUGH
Well, obviously, mine was the most difficult.
Yes. We all found him tricky.
Yes. It wasn't just...
Yeah, but you weren't... It wasn't just you, Joan.
THEY LAUGH
You weren't in the same position.
No.
# Why should I let him touch me? #
George came to me and said,
"Look, we would like you to play Jean Rice".
Of course, the lure of his name, too,
except you knew you couldn't make much of a...
much of a show on your own, of course,
because the part wasn't anything that was to shout about.
You would be on stage with somebody who you knew everybody would be looking at, not looking at you.
But the lure of just being on the same page of a programme was great.
Hey, tell me something, will you?
I want you to tell me something. Mmm.
Well, what would you say
to a man of my age
marrying a girl of
about your age?
Oh, Dad!
You're not serious.
It was momentous.
Earth-shattering for me.
A very, very strange experience.
Although it was a great privilege to share in his life as well as it being,
you know, a bit of a nightmare -
sometimes!
You married Sir Laurence Olivier just before he started the
National Theatre, and your career, since then,
has been very tied up with the National Theatre.
Yes. Do you feel because of that, and because of the marriage,
that you have lost opportunities that you might have had otherwise,
in other forms of theatre?
Well...
That's a...
That's a very difficult question to answer, Sheridan.
Because, you know...
The actual burden of going on, knowing that, you know,
those who don't really go for you, are going to say,
"Well, of course, it's her husband." Oh, yes.
That was my, sort of, burden.
This is good news.
The best you have given me yet.
I wish you joy of it.
If you find it so. Enough then.
Bring it out!
It was perfectly all right working with my first husband,
and my second one wasn't an actor, so...
Snap.
What about working with Robert?
Well, that, well, it was tricky.
There was a lot of times it was fine, but then, it really got very tricky,
because he was not a well man.
And that was hard,
because you didn't know if somebody was coming on stage, or if they were,
indeed, what state they would be in.
Do you want a cocktail? There are two here.
There are two over here as well.
We'll have my two first.
Shall we get roaring, screaming drunk? I don't think that would help.
We tried it once before, it was a dismal failure.
It was lovely at the beginning.
You have an immoral memory, Amanda.
Here's to you.
A lot of it was very, very merry and lovely.
So I shall remember those bits.
Yes, because you were a golden couple.
We were a golden couple, yes.
Judi, will you talk a little bit about working with Michael?
Um...
Yes. Um...
How long did all the Fine Romance, and things like that...?
Oh, ages, and ages, and ages.
This is a fine romance.
LAUGHTER
I'm sorry! Sorry, I'm sorry.
Ow! That was my head!
LAUGHTER
Working with Mike - oh, we had the most wonderful time.
But he used to laugh! Mikey was a terror.
I mean, I'm bad at corpsing. Michael was very bad at it.
We did a play called A Pack Of Lies.
There was a long scene where Richard Vernon had to say...
"Have you noticed a Vauxhall car?
"Registration number AVY 129."
And he said, one day, to us,
"Have you...have you noticed a Vauxhall car?
"Registration number...
"RU 12..." He said!
We had to almost stop the play.
Are you all going to work for ever?
Well, I don't suppose one can, but I'd like to.
I'll work for ever if I'm asked. If we're asked.
If we're asked. What?
If we're asked. We're going to work for ever if we're asked, Joan.
But you're always asked first, if I may say so.
Don't turn! I'm turning on you now.
It's all coming out now!
One of my hearing aids has gone. What were we just talking about?
What? Do you want one of mine?
No, it won't fit.
It's just, what was the last thing said?
Are we going to go on working for ever, Joan?
Oh, was that it?
And I said Jude gets all the parts first.
Oh, yes. I tell you,
my agent in America said to me one day,
when he knew I couldn't do very much because of the eyesight going,
and he said, "Well, if you do want to come over again,
"we'll look around for a nice little cameo that Judi Dench hasn't got her paws on."
THEY LAUGH
How rude! It's not rude at all.
It's very, very rude. It's America, darling, that's how they talk.
Why does every day involve a fight with an American?
I used to find the most exhausting thing wearing those hats.
They are the heaviest things in the world.
I had a hat,
it was, it was like the Albert Hall.
It was huge.
And so heavy.
I'd say, "Please, take it off. Please, take it off."
How many episodes were there?
I mean, how many series? I don't know.
Three? I don't know. I think it was more.
I don't know anything. I haven't seen it yet!
And they gave me a box set.
What? They gave me a box set.
But I haven't got time. I shall have to hasten,
because I won't last long enough to see the wretched thing, will I?
Can you talk about being on really big film sets?
Like, huge film sets?
Like the Bond film set, or Harry Potter?
Actually, Alan Rickman and I, we just ran out of reaction shots.
Because they always shoot on the children first, not surprisingly,
and then they'd turn around and we'd be going...
Or listening, you know, it was absolutely extraordinary.
Who is this one here?
JUDI LAUGHS
I was just surprised.
I thought that was part of Harry Potter!
You did it really, really well.
Are you a camera...? You've met before.
I know. You met yesterday.
But you're always in...the scene.
Would you like to come and sit here?
I'm suddenly, sort of, aware that you're there more than anybody else.
Would you like me to move? I would love it if you moved.
JUDI LAUGHS
Do you want to go and...? Honestly,
I think you've taken an awful lot of photographs.
Yes. Yes.
It is his job. Yeah. I know it is, darling, but
he's not going to be upset now. I won't.
Look at him, he's been there for ever.
He's going to go and bang about a lot. You've got quite enough here.
Oh!
For God's sake!
Just get out of the way.
Don't you recognise the car? Madam...
Oh, talk about Bond. I want to know how you do...
Covered in jewels.
I was never covered in jewels.
After it you were! Afterwards, did you say?
It was Michael, really, because when I was asked to do it,
I was really taken aback, and Michael said,
"I long to live with a Bond woman," he said.
"I long to, you have to do it."
My sons went to a little preparatory school, not that far from here,
where Kim Philby was the main pupil.
Michael's hero.
Kim Philby?
Have you ever seen that bit of film, with him,
when he was suspected of being a traitor,
and he calls the press into his house?
If there was a third man, were you, in fact, the third man?
No, I was not.
Do you think there was one? No comment.
Every actor should look at that.
I know. Because...
Because you... I mean, you cannot begin to think for a minute that he's lying.
I know. It was in his mother's flat, wasn't it?
I think it was.
His mum was there, listening to all the lies.
And you think, of course, "Don't be so stupid,
"of course he's not duplicitous in any way whatsoever."
Good acting. Good spying.
Fear is a common thread through the last two films.
Fear. Fear is petrol.
It's the payoff... Fear is petrol.
Yes. Talk about that. Fear.
Fear is what? Fear is the petrol, isn't it?
Fear. You know, it generates such an energy - fear, being frightened.
Yes.
But if you can somehow channel it, it can be a help.
Really good. OK.
End board.
I'm so sorry, we are very, very tired.
That was great. There are so many good things in there.
So you have...? You...
They've told you how old we are, haven't they?
I've been informed.
I've never released how I... I'm not telling anybody.
Do you think we ought to have a glass of champagne around this one?
Yes! God, I could kill it.
I think it's far too late.
Why didn't anybody think of that a few hours ago?
Dame Ede had speaking teeth, and eating teeth.
She would... She used to go home with her speaking teeth in,
and then phone Dickie and say, "You have to go and get my teeth,
"because I'm very hungry."
She'd left them in the dressing room?
Yes. So Dickie had to go and get them from the dressing room.
Teeth? Did you say teeth?
She used to have speaking teeth and eating teeth.
We think we're in trouble. I mean... I know!
Two lots of teeth.
A handbag!
She was always saying, "I am so lonely."
Well, I know the feeling.
Don't you? Yes.
But now this is what I'm saying. The awful thing is,
I used to think awful things about Dame Ede.
Yes. And I don't now.
Oh, my goodness!
Are we doing anything?
We're drinking champagne. It's always worrying when you see these guys, though. Look at them.
Sneaking up on us. Look. Look, look. We have to have a sip.
Let's have this. Are we talking? Are we talking?
What would you like to talk about?
No, I meant are we...? We are waiting for Roger to shout.
Are we on, yet? Yeah, they never stop.
Oh, they never stop. To us. Thank you. To you, everyone.
What? You're not having any.
Who? We are drinking our champagne, Joan.
All righty.
What would your advice be to your young selves?
Your advice to your young selves. Oh, Christ.
I would say,
get in touch with
yoga or mindfulness at quite an early age.
And learn about the brain.
And what influence it has on the body,
all those things that I've come to
be interested in later on in life,
and could have done with doing earlier.
I think Joan kind of leads,
it's a...it's a version of mine,
which I would say, not to be so very bad-tempered!
And confrontational.
Mm-hm. And listen more.
Me? Yes.
Honest to God, I don't know, because most likely, I wouldn't be listening!
But I would say, when in doubt, don't.
That's good. I think I would.
It should be a motto, that.
I wish I knew the Latin of it.
What? When in doubt? When in doubt, don't.
Jude?
I would say, try not to be so susceptible to falling in love.
Oh! Quite so...
It's pathetic. Don't!
THEY LAUGH
Oh, Jude.
Don't!
SHE SPLUTTERS
No, be MORE susceptible!
No.
Less susceptible.
Well, whatever it is, it's too late!
What else? What else?
Somebody said it's too late?
I said it's too late.
Oh, it's never too late.
Oh, do stop, Joan!
You know it is. It's never too late to fall in love.
THEY LAUGH
Oh, dear. What is that out of?
The Boyfriend? Salad Days. The Boyfriend, isn't it? Salad Days.
Oh, is it The Boyfriend?
I think The Boyfriend.
# Oh, what do you say?
# It's never too late to have a fling
# For autumn is just as nice as spring
# And it's never too late to fall in love
# Boop-a-doop, boop-a-doop, boop-a-doop
# It's never too late to wink an eye
# I'll do it until the day I die
# And it's never too late to fall in love
# Boop-a-doop, boop-a-doop, boop-a-doop
# If they say I'm too old for you
# Then I shall answer, Why, sir?
# One never drinks the wine that's new
# The old wine tastes much nicer"
# A gentleman never feels too weak
# To pat a pink arm or pinch a cheek
# And it's never too late to fall in love
# Says who? Says me.
# Says you. #
You wrote criticisms of
Laurence, when you were at school, you didn't think much of his...
I wrote to my parents, yes.
He was Hamlet, and,
yes, I'd seen Michael Redgrave first, so...when I was...
I wrote and said Laurence Olivier was a bit ham.
Yeah. Hammy.
Did you ever tell him? No, I didn't, actually.
Of course not. No.
No, because, you know, when you're in the throes of love...
No, I meant later, Joan. When you're swept off your feet, you don't.
I don't think I did.
Later.
No. I'm sure I didn't.
Did you see him as Henry V?
I can remember being taken in Plymouth, to see it.
I just loved it. I remember it so clearly.
I wrote to him, apparently.
Um, Tamsin found a schoolgirl diary of mine, which said,
"Got a letter back from LO."
You see, that's what I was saying.
That's what you were saying. Not writing to my parents?
No!
Yes, that was saying how much I'd loved it, of course.
So it was a fan letter?
Yes. It was a fan letter.
And I got this letter back, which I know now was from Dorothy Welford.
The secretary.
With a stamp.
Which thousands of schoolgirls got.
I know Maggie had a tough time with him on occasions.
Well, we do know that. Oh, no.
Come on. No, no tougher than with a lot of actors.
You also, you know,
my kids called on you when I was away,
when he was suddenly taken ill again.
You came round and held his hand.
Yes. You did.
In my absence.
This hand held the hand...
Yes.
I remember him saying to me...
I had a bit in Semi-Detached where I had to go off stage, run upstairs,
run down again, and come on stage.
And he said to me, "You're always a fraction late."
And I said, "Well, that's how long it takes me.
"I do it as quickly as I can, to run up the stairs, outside the door,
and down again." And he said, "My dear, it's an illusion.
"You don't have to run up the stairs!"
I remember going to see a play in New York with an English actor when the notices
paid a lot of attention to a great cry he did at the end of the second act or something.
And the night we were there, it didn't happen.
And we went round to see him, and said, you know, "Where was it?"
He said, "I felt I couldn't reach it,
"and I didn't want to give the audience a lie."
And I said, "Well, you know,
"the whole thing from beginning to end is a lie."
After all, Hamlet does get up and take a curtain call.
So there was a whole argument going on then.
About whether you should just try the cry,
whether you're in the mood or not.
You should BE in the mood, is the answer.
You find the way. Yes.
To make it happen, and appear spontaneous.
And that's the difference between actual truth and illusion.
Finito.
I'm lost for words. I have nothing left to say.
LAUGHTER
CHEERING AND APPLAUSE
MUSIC: Honky Tonk Women by the Rolling Stones
# I met a gin-soaked, bar-room queen in Memphis
# She tried to take me upstairs for a ride
# She had to heave me right across her shoulder
# Cos I just can't seem to drink you off my mind
# It's the honky tonk women
# Gimme, gimme, gimme the honky tonk blues. #
APPLAUSE
Is this it? Yeah.
C Mark, and D Mark.
INDISTINCT SPEECH
"Our revels now are ended.
"These our actors, As I foretold you,
"were all spirits and Are melted into air, into thin air.
"And, like the baseless fabric of this vision,
"The cloud-capp'd towers, the gorgeous palaces,
"The solemn temples,
"the great globe itself,
"Yea, all which it inherit, shall dissolve
"And, like this insubstantial pageant faded,
"Leave not a rack behind.
"We are such stuff as dreams are made on,
"and our little life Is rounded with a sleep."
I hope you're getting the others to do this.
Yes, we are. Roger?
You swear? I swear. You swear?
Dame Judi Dench. Dame Judi Dench. Dame Judi Dench. Dame Judi Dench.
Dame Judi Dench.
Dame Judi Dench. Dame Judi Dench.
Jane Dooby Dench.
I like Jane Dooby Dench!