:37:01
...a young Lady Anne.
:37:04
I want somebody very young.
:37:06
KIMBALL:
Very young. How young?
:37:08
As young as you can get...
:37:10
...and be able to do Shakespeare
and understand the scenes.
:37:13
Someone young enough to believe...
:37:16
...in Richard's rap.
:37:18
KIMBALL: The problem is, we need
someone who can speak the part...
:37:21
...which is why you always have
an older actress...
:37:24
...because it takes maturity.
- You know, we don't need...
:37:28
The problem of projecting the role...
:37:30
...because it's a film, so we won't have
the need for the actor to project.
:37:36
- We need a film actress.
- Great, great.
:37:39
Someone like...
:37:44
We'll think of someone.
:37:45
Well...
:37:51
PACINO:
I will marry the beautiful Lady Anne.
:37:55
What though I kill'd her husband
and his father?
:38:01
The readiest way to make
the wench amends...
:38:04
...is to become her husband
and her father.
:38:09
SCHOLAR 3: This language is
the language of thoughts.
:38:13
To do this in the theater,
you must speak loud.
:38:16
There are very few actors who can
speak loud and still be truthful.
:38:21
That's the actor's problem.
:38:22
Every actor knows the quieter he is,
the closer he can be to himself.
:38:26
When you play Shakespeare...
:38:29
...in close-up, in a film...
:38:31
...and have a mike
and can really speak the verse...
:38:34
... as quietly as this, you are not going
against the nature of verse.
:38:39
You're going in the right direction
because you're allowing the verse...
:38:44
...to be a man speaking his inner world.
:38:50
RYDER:
Set down...
:38:52
...set down your honourable load...
:38:58
...if honour may be shrouded in a hearse.