So I listened very carefully to the recordings, and listened very carefully to our dialect coach, and tried to find a way that allowed that very familiar voice not to become too much of a tune, you know, a familiar tune. Cause he's as familiar in a way with his cadences as someone like Churchill. But it's a beautiful voice that he has, and it's a beautiful way of speaking.
So, it was a lot of practice with headphones and microphones, and after awhile you start to think like he talks is what you hope the process will produce, kind of osmosis, when he starts, I finish, as it were. So... I disappear and hopefully he arrives. Any sort of process with these biographical pieces is so dependent on the script. The screenplay makes an imaginative guess, I suppose you want to call it, an imaginative leap into what Margaret Nagle believes is the inner life of a man who's facing this challenge. A life change, a traumatic life change, from a very vigorous, fully active, physical life, and a series of enormously high expectations to a sedentary life with very few expectations.
