[Music] Jeremy, congratulations on being our inaugural Honoree at our new first year ever SCAD Lacoste Film Festival. It's a real pleasure and an honor. Thank you, and it's wonderful to see you again. You have been such a treasured friend of SCAD for so many years. I mean, I was counting up, and I think it's been almost a decade. Thank you, SCAD, for this. When I turn it on and look at it, I will think of that beacon in Savannah, and I hope that many of you who are passing through its portals at the moment will enter the world and be also a beacon. Thank you so much. When I first came to SCAD, I was absolutely amazed by the energy and the vigor and the positivity. You have a particular talent for making this university what it is, this college what it is, and I envy that and admire it enormously and, of course, want to be involved. I mean, I'm not with you enough. One of the iconic films that

we're screening is a classic romantic drama starring you and Merlet. The French Lieutenant's Woman in the canon of your work. What does this film represent? French Lieutenant's Woman came along when I was around 30, and it was my first chance at a starring role. And of course, playing opposite the iconic actress Streep, who taught me a huge amount. And I remember the difference that you had to have as an actor. That for the Victorian story, you had to make yourself like a pressure cooker. Oh, why? Because there's so much that's not allowed in Victorian life around sexuality. I remember they used to cover the legs of their pianos. Oh, because they found the legs offensive. Well, that's taking it to an extreme. Indeed, it is. There's a scene in the film where I play opposite the girl who I'm designed to marry. Yes, and she's wearing a dress which is up from here down to the floor. And we spent all day sitting by a fire shooting this scene. And I became obsessed with catching sight of her.

ankles, and I thought, I see what this does, this cover-up. It's completely opposite to sexuality now, where everything is flaunted. It was a wonderful experience. It was the film, I think, that really, for me, as well as Brides, said that sort of booted me skywards because they really loved you. Well, because they needed. No, no, no. It's never because they love you. It's because they need you. They spent money on you. Yeah, so we're also screening your Oscar-winning reversal of Fortune. I'm curious, how is it different to portray a real person in terms of your creative latitude? Well, it can be difficult. Classon Buulo in reversal of Fortune had been accused of trying to murder his wife by injecting together with insulin. So, I studied him. I watched him. I talked to people about him. Never met him and came to a conclusion. And it is that conclusion that I play in the film. Well, you were chillingly reptilian in a way that you

portrayed. I mean, I love some of the little back and forths between you and Ron Silver too, so I wrote down a couple of them. Did you? Yes, very sneaky. Uh-huh. So, in one scene, Allan says to Claus, You do have one thing in your favor: everyone hates you. And Claus says, Well, that's a start. It's a start. In another scene, Alan says, You're a very strange man. And Claus replies, You have no idea. So, I mean, I think the audience is delighted in that smart screenwriting. Yeah, 'cause now you know everybody mutters and B speaks incredibly slowly, leaving huge gaps. I don't know why they do it. It's a sort of fashion. I think we can all blame Maron Brand who started that. No, it's Joy. I mean, both Ron and I played stage, and so, you know, we smell good dialogue and eat it up. Your voice acting and narration work has been recognized with two Emmy Awards. I really

think you reign among a handful of people whose voices are really just recognizable. What should our SCAD students keep in mind when preparing for voice performances? Well, I think they have to learn the basic technique, which is where their power comes from, which is down lower belly. Um, they have to learn Department because you have to be free and relaxed for the voice to really work. The voice is like the body, really. I mean, it has, it needs to be trained to do as you ask, and once that is so, once it does what the brain asks it to do without you can become unconscious of that. And uh, that's something that your training in a way goes, you throw it away and you go with the moment quite irresponsibly and hopefully that training will back you up. Yes, um, but you have to do that, you have to get that technique. I'm very lucky because House of Gucci keeps popping up in my life. SCAD expanded its curriculum with the Dole School of Business Innovation. Oh really, uh, named for former CEO of Gucci.

Dominico Dole, and we invited Dominico to host a screening of House of Gucci, and then an in conversation, and we all marveled, of course, at your portrayal of Rodolfo Gucci. How did you first get involved with that film? Well, actually, Yeto Ridley Scott's daughter was going to direct it, and then Ridley came back and said some sort of six years later, Would you like to play Rula? These things take a long time. Oh, they do. Yeah, they do. It was a project which Ridley's wife was very keen to have made. It was a lot of fun. Sadly, I wasn't in the movie very much. I died. It's always boring because I love the chance to play with Pino. So, I think I shot for a couple of weeks in Milan, and that was in. They all went to offer and skiing and to Rome and all and had a lot of fun. So, I don't know if you've been counting, Jeremy, but you

have 108 credits in film and television. God, I'm not old enough. No, you bring such a wealth of insight to any film. Have you done some directing? There was one project I wanted to do, and I bought the book several times, couldn't quite get the script as I wanted it, so I would let it lapse. But I think I'm too lazy to direct, you know, director. You've got to work for a year really getting it all together, and then you shoot, and then you won't get paid anything because I have no track record as a director, so I'm doing it for love. Um, then I have to sell it. Then if it's a disaster, I'll never be asked to direct anything again. So it's a very... but it wouldn't be... well, I don't know. I don't know, but the answer is I haven't found anything that I don't want nobody else, anybody else to touch, and that's a good parameter, you know, 'cause you think s is a good director, ask him to do it. This is your first time at

scad lost. So, what do you think of the little village? Well, I think the little village is absolutely beautiful. Very hot, but absolutely beautiful. I think the work you've done is wonderful. I am so grateful when organizations or people who have the funds can put back ancient buildings that have been through time and poverty and weather, have stopped being the glorious places they used to be. And it is wonderful when you see that happening to put it into such a historic place as lacost, with such style, with scout hats. I mean, I've seen what you've done in Savannah, and to see it transfer here to the lubero is magic. Wonderful, absolutely wonderful. Thank you. Well, thank you so much for all your years of friendship, and I feel like you're part of our extended university family, and it's just such an honor to know you. Thank you for inviting me. I've had a lovely time, and I'm having a lovely time. Thank [Music] [Applause] [Music] you [Music].

Relax and Reminisce with Jeremy Irons | On Creativity

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