In conversation with Kate Winslet
October 3, 2006
The Empire Interview
When I hear about ‘Oscar buzz’, there’s a part of me that just goes, ‘Shut up! Shut up! Shut up! Shut up! What if people don’t like it?’ It’s just part of my survival kit.
Kate Winslet strives not to be a star. Yes, she’s beautiful, talented and all the rest of the positive things associated with the inordinately well- known. But she’s not untouchable. She doesn’t let her public persona do her acting for her; she has no signature trait, like a Julia Roberts smile or a Tom Cruise air-punch. She doesn’t insist on top billing. She has the face of a movie star, but she has the soul and versatility I of a character actress.
Despite being just past 30, Winslet has the CV of someone twice her age. Ever since striding purposefully onto the screen in Heavenly Creatures, she’s repeatedly proven herself worthy of the sobriquet Best Actress Of Her Generation, with a series of performances that have occasionally strayed into the blockbuster arena (it is typical of Winslet that her sole go at an action movie — of a sort, anyway — would be the biggest film of all time), but more regularly have leaned towards art house fare.
She’s been Oscar-nominated four times, for Titanic, Sense And Sensibility (only her third film appearance), Iris (in which she comfortably matched Judi Dench) and Eternal Sunshine Of The Spotless Mind (which proved her equally able to emote without a corset), yet she was more than happy to mock her lack of victory on Ricky Gervais’ sophomore TV show, Extras.
She is, in the best sense of the word, normal. And greeted with an English journo, after a parade of glistening Americans, lets her delightful ‘earthier’ side come out.
The next two months see the release of a pair of films that show both sides of the Winslet coin. In All The King’s Men, a big-budget portrait of shady politics in 1940s Louisiana, she plays Anne, a glamorous beauty bruised by lost love. In Little Children, a micro-budget indie, she’s a scruffy housewife who falls for the hunky married father who frequents the local park.
We sent News Editor Oily Richards to meet Winslet among the bustle of the Toronto Film Festival, where both films had their premiere. “Meeting Kate Winslet doesn’t carry any of the grandeur of encountering similarly lofty Hollywood stars,” says Richards. “She has a publicist by necessity, but there was no fawning assistant evident and everyone who crosses her path, including the maid who clattered in halfway through our chat, is treated with equal warmth. She must be aware of her talent, but her natural setting is self-deprecation and she’s such affable company that it’s easy to forget you’re talking to a global celebrity. The moment that best sums up Winslet actually occurred just after we spoke. As I left the room, Emma Thompson (in town for Stranger Than Fiction) entered, saying she ‘wanted to give that Winslet a hug’. And you can see exactly why she would.”
EMPIRE: So you’ve got four films (All The King’s Men, Little Children, Flushed Away and The Holiday) coming up in the next few months. Are you having a period of manic workaholism?
WINSLET: No. I haven’t been having a period of workaholism at all. It’s a weird situation for me where between now and December I have four things coming out, including one animation. But it’s all the work that I’ve done since my son was born — and he’s nearly three. So it’s just weird. It’s just one of those things actors have no control over.
EMPIRE: You’re surely the Jude Law of this year…
WINSLET: Oh God, don’t say that. Not that that isn’t flattering, of course. No, it’s just the way these things work out.
EMPIRE: All The King’s Men. of course, was made almost two years ago. Wasn’t it supposed to come out last year?
WINSLET: That’s right. It was supposed to come out last winter and then they held the release for reasons I really know nothing about. We shot it at the beginning of last year. It was January, February. March and a little bit of April. I was actually only on for about three or four weeks of that.
EMPIRE: Given that your part in it is relatively small in terms of screen time, was it the opportunity to work with a cast that includes, to name a few. Scan Penn, Jude Law, Anthony Hopkins and Patricia Clarkson that drew you to it?
WINSLET: What do you think? It really was. When you get invited into that party of people, to go on that fairground ride, you just jump on. You just say, “Yep, okay. Seatbelt. There you go.” It just doesn’t come around all the time. Anyway, I’m happy playing supporting roles and I’m lucky to have that opportunity.
EMPIRE: You have moments with the rest of the cast, but it’s Jude Law you spend most scenes with.
WINSLET: I loved working with Jude. I loved it. I don’t mean to sound surprised by that, but I think the assumption on most people’s parts would be that Jude and I knew each other. But we didn’t at all. We turned up on the first day of shooting after a little bit of rehearsal and I just thought, “God, I don’t know you at all. I don’t know what you’re like on set or how you conduct yourself.” As it turned out, we worked in exactly the same way and had such a laugh, we really did.
EMPIRE: It’s weird that you two had never done anything together before.
WINSLET: I know! Even I was thinking, “I must know Jude. I must have done something with Jude. Of course, I must have done.” But no, absolutely not. Obviously he’d worked with Sam (Mendes, her husband), so maybe I sort of felt like I knew him from that. But I wasn’t even with Sam when they made Road To Perdition, so that would clearly be madness.
EMPIRE: And now you can’t stay away from him. You’re with him again in The Holiday.
WINSLET: Yeah, I know. He plays my brother. That was great as well, but we had so little to do together because Cameron (Diaz) and I play two women who do a house swap — God, I can’t believe I’m doing press about The Holiday; I feel like I only finished it last week. So he’s back in England and falls into this relationship with Cameron, while I’m staying in her house in LA, which is like a little mansion, having my little moment with Jack Black.
EMPIRE: An unusual choice for your leading man. Were you surprised by that?
WINSLET: Jack Black is the sexiest film star I’ve ever worked with. He’s just the best. He’s hilarious. He is so sweet. He doesn’t have any of that tortured comedian thing that you sometimes see; not at all. He’s a very funny, sweet, hilarious person who willfully tries to make you corpse in the middle of your scene. They put together my own personal gag reel at the end of the film and I’d never had a gag reel so I was thrilled by that and treasured it. But there were so many moments where Jack was acting off-camera for me and you can just see my face crumbling, while I try to keep it together. He was absolute bliss to work with.
EMPIRE: One person you narrowly missed out on working with in All The King’s Men was Meryl Streep, who pulled out of the role taken by Patricia Clarkson. Was that a disappointment, because she’s a bit of a hero of yours, isn’t she?
WINSLET: She is. I embarrassingly went up to her at the Golden Globes last year, having never met her. I was completely sober at the time. I hasten to add. And I said, “I love you so much I want to tongue-kiss you.” And she said, “Okay.”
EMPIRE: So did you?
WINSLET: No, of course not. But she’s just everything. I really look up to her. I have so much respect. She’s sort of my role model a little bit and I just have so much admiration for how she’s conducted herself, her life and the choices she’s made. It’s just wonderful to see that and I can only hope to be as sane as her and working when I’m that age.
EMPIRE: The most provocative of your upcoming films is Little Children, which manages to make a pedophile and a killer sympathetic. It has lots of people who do bad things, but no good guys or bad guys.
WINSLET: Well, that’s the thing that I love. That it’s just about people and everyone’s very, very real. It’s just a very honest, pure film in that sense. Almost unnervingly so at some points. You just think, “Oh my God, is this a documentary?”
And I like that about it. It feels quite European to me too and I have quite a soft spot obviously for smaller films anyway. That was just an extraordinary experience.
EMPIRE: Your character, Sarah, engineers an affair with a happily married man and is pretty selfish.
WINSLET: The difficult thing in playing that part for me — aside from the accent and all the nudity — was that I realized halfway through shooting that I didn’t really respect this woman that I was playing. If I met her in the playground I’d just think, “Oh Jesus, what a flake. Just pull yourself together and brush your hair. And be more hands-on with your child.”
EMPIRE: As a mother you must have found that element of the story disturbing.
WINSLET: That was a real struggle for me. That she wasn’t as bonded with her child as I am with mine or my friends are with theirs. I’ve never seen that kind of parenting. So it was very difficult to have to be cold with the little girl in some of the scenes… It was a tough part to play because she’s nothing like me and that’s always a real stretch because you just have to divorce yourself from your life. It’s difficult to go to work and do that for 12 hours. I would always find myself in the car on the journey home from work just playing the most upbeat, loud music I could so I could run in the door and go. “Okay, kids… (adopts sing-song voice) Bath time!”
EMPIRE: Has motherhood interfered with making films. or the other way around?
WINSLET: I think of myself as a mum who finds the time to go to work. I have to check myself for baby sick before I walk out of the house in the morning. I am really; mum… I know I am a great mother I was reading to Mia (her five year old daughter with first husband Jim Threapleton) the other night and I thought, “I need to tell her I am going to work and might have to leave the house before she gets up.” I said, “Babe, you know mummy’s got to work tomorrow.” And she said, “Don’t be silly, mummy, you don’t work, you take me to school” It’s okay, though, and Sam’s absolutely amazing and incredibly hands-on. He’s always been so wonderful with Mia and it’s more wonderful for me to see how he is with Joe (her two year-old son with current husband Mendes).
EMPIRE: Both All The King’s MEN with its politics, and Little Children with its controversial elements are exactly the kind of films that get talked about for Oscars.
WINSLET: It’s always terrifying when they do that.
EMPIRE: Still, it’s something that’s followed you through your whole career. Four nominations, is it?
WINSLET: I have this love/hate relationship with Oscar buzz. I don’t read reviews. It’s just part of my little survival kit.
EMPIRE: You don’t read any at all?
WINSLET: I don’t read them and I never have, even the good ones. When people say, “Come on. Look it’s great,” I just say, “No thanks it’s fine.” So you just kind of hear about “Oscar buzz”. There’s part of me that just thinks. “Oh, how lovely,” and then there’s another part that just goes, “Shut up! She up! Shut up! Shut up!” Because there is that strange kind of pressure — you start thinking. “Well, what if people don’t like if When it gets out into the masses it’s just anybody’s game. Everything’s a risk, you just have no idea what it’s going to do. Of course, it’s wonderful when things are critically acclaimed and people like them and say nice things. But then again, the proof’s never really in the pudding until people can go out and see it for themselves. But yes, I don’t know. Eeeee… we shall see.
EMPIRE: Did you read them when you first started? You got some good reviews for Heavenly Creatures.
WINSLET: Back then I did. I did read them then and it was after that that I thought. “I really shouldn’t do this.” I don’t know why, it just sort of kicked in that I thought, “Hmmm, how healthy is this really?” The fact that they were saying nice things can almost be worse because then you start getting a little bit pleased with yourself and it just takes you away from the job in hand. It genuinely does. In order to stay focused and as kind of cleansed as possible you have to focus on the work, and as soon as those other things come into play it can just become very distorting, even when the things people say are very complimentary. So from Heavenly Creatures on I really tried not to read them. But that film was the beginning of it all, really. That was the big, fat, life-changing moment.
EMPIRE: It must have been incredible for you when that came out. Did you fully absorb the experience?
WINSLET: I didn’t ever think beyond the making of the film, Suddenly it came out at the Venice Film Festival and I was running around going, “Oh my God, this really is a proper film, people are actually going to go and see it and it’s going to really be in the cinema and oh my God!” It just didn’t come into my brain. I don’t know why. I’m sure it was just lack of experience. I just had no idea how that stuff worked.
EMPIRE: What stuff, exactly?
WINSLET: I didn’t realize you had to go off and do press and fly all over the place. I just had no idea. It was so amazing and I sometimes yearn for that kind of naivety again. Even playing a character, in fact. The last few years I have been working quite a lot and I’ve really tried to remember exactly that feeling of terror and excitement that I had going into Heavenly Creatures. I’ve really tried to stop myself from second-guessing the audience because sometimes knowing too much about your craft can be kind of harmful. I’ve tried to remember that feeling of, “Oh Jesus Christ, what do I do?” And also to leave little things to chance, that sense of mystery and freedom in the air when you’re actually on set and at work and shooting.
EMPIRE: Everything about that film felt new. Peter Jackson had never done anything like it, and you and Melanie Lynskey were unknown.
WINSLET: Totally, absolutely. For me it was just like, “Oh my God, oh my God, oh my God, I can’t believe I’m here,” and just pinching myself everyday. It was very much a blissful, easy time in the sense that it was just so enjoyable. Funnily enough, Peter originally, because he co-wrote the screenplay with Fran Walsh, wasn’t going to direct it. It just didn’t really occur to him. He always thought he’d produce, but then he fell so in love with the story and became so obsessed with the murder case that he couldn’t let it go. He thought he had no choice; he had to do it. Well, lucky me!
EMPIRE: And lucky you jumped into Sense And Sensibility pretty quickly after that.
WINSLET: Well, that was just incredible. I remember getting the phone call saying I’d got the job and I really couldn’t believe it. I was convinced they’d read the wrong name off the list. When I was there and shooting I kept thinking that any minute someone was going to turn around and say, “Actually you’re a bit crap. We’re really sorry but we picked the wrong girl, we just didn’t have the heart to tell you. So now’s the moment we’re going to fire you and bring in the real person.” I was just convinced that was going to happen. Those strange anxieties that all actors have. I still feel it sometimes today: “I’m no good at this accent and I’m crap and everybody’s looking at me.” It doesn’t go away, and thank God it doesn’t because it’s the thing that sort of keeps you on your toes.
EMPIRE: The success that that film brought, including your first Oscar nomination, seemed to be the only time in your career that you went ‘a bit Hollywood’. Is that fair?
WINSLET: Well, I did fight it off for a good long time.
EMPIRE: But you were suddenly everywhere and got incredibly thin.
WINSLET: Oh God, I know. Sam the other day was looking up something online. I think he was looking up some early Little Children reviews — so I of course ran away into the other room when he did that. But anyway, he came across a picture of me at the Academy Awards with my parents and he said, “You just look like a bladder on a stick.” And I said, “I’m sure it’s not that bad.” But then I looked at the picture and bloody hell, my arms. But I was 19 or 20, and it’s that stage in a girl’s life when body image becomes so important. But yeah, I had a pretty… not quite screwed up, because I never took drugs or drank a lot or ended up in the gutter. But emotionally and inside myself in my own private little way I was pretty screwy for a couple of years. But at the same time, when I was doing Titanic, that was really the time people thought I was saying, “Oh, I’ll go and step into the big American market.” Honestly, I had no idea. I knew that it was a bigger film than I’d done before, but I didn’t know how big the budget was. I didn’t know any of that stuff going in. I just thought, “This is a great story; it’s with Leonardo DiCaprio — holy shit, he’s extraordinary. Wow, of course I would love to go and have that experience and play that part.” And I loved my character, I really loved Rose. And to play an American, I thought that would be something amazing. So I actually went into it very naively. As wonderful a time as I had, I just wasn’t prepared at all. So that came out and then I got really fat.
EMPIRE: But you never were actually fat, which is why it’s so odd that it’s been such a talking point through your career.
WINSLET: No, but the press decided I was. I don’t really remember sitting down and eating packets and packets of Hob Nobs. But at that time I remember making a conscious decision about the whole skinny thing. Being a normal shape — and I hate to sound like a cracked record — is really, really important to me. Especially now, when I think it’s pretty out of control in the industry and kind of terrifying. But at that point after Titanic I thought it was important for me to say, “Look, actually, all you younger girls, I’m doing this and I’m normal and I’m healthy and I eat.” I did feel a sense of duty as well as trying to be myself and hang on by the seat of my pants to where I was, which was God knows where. It was a difficult time, having to suddenly adjust to the fact that I couldn’t go to Waitrose without taking ten paparazzi with me. It was really scary. I look back on it now and wonder how I got through. But I lived to tell the tale.
EMPIRE: There was a strange thing at the time that there’d be one magazine saying, “How fantastic, she looks like a real woman,” and another saying, “Hasn’t she let herself go?” With the same picture! A bit confusing, surely?
WINSLET: I definitely had a moment where I thought, “Hang on, I know I’m definitely not fat. Maybe I put on half a stone or whatever, but I’m not fat, I’m just not skinny anymore. And when I was skinny I was really unhappy and unhealthy, so surely this is better?” It was very, very confusing and alarming how cruel people could be. And it was very upsetting and damaging, and even though I wasn’t reading things, you would see it. I’d walk down the road and walk past the newspapers and see myself looking really bad. I think that was the moment when I thought, “Oh, okay, I really am quite famous now and this is obviously what happens to famous people. Oh well.”
EMPIRE: Interestingly, you also seem very at ease with any nudity required for your roles.
WINSLET: Nude scenes are never easy to do. I always try to pretend they’ll go away. It was particularly like that with the famous urinating scene from Holy Smoke. Thank God, when the day came the urinating contraption that was rigged up to me was so hilarious that I was able to laugh and keep myself going in that way. Also I had to keep focused on the fact that that scene was disturbing. When I first read the script, it was the most powerful scene I’d ever read in any film script. You try to stay focused on the fact that those scenes are there for a reason and you’ve agreed to do them for a reason. I’m also pretty tough when it comes to scenes like that. I’ll want to see everything as soon as I’ve shot it and say, “No, I don’t think that’s right,” or whatever, not because I don’t look nice but because sometimes they can shoot a little bit too much if they feel they can get away with it. But I would never say it was easy. You know that everyone is watching and think, “This is really embarrassing!” It’s like me saying to you, “Get naked and stand on the table in front of all these people.” It’s just horrible!
EMPIRE: You mentioned Titanic, which is obviously the biggest film of your career and indeed the biggest film ever made. But it now seems so completely out of step with all the other things you’ve done, in that the script is not the strongest element…
WINSLET: Mmmm-hmmm.
EMPIRE: But you really fought to get the part. You didn’t use it as a launch pad into blockbusters, so why did you want
it?
WINSLET: Well, I loved the love story side of it. There was something just so romantic and fairy-tale about it. I was a young girl. I loved the fact that the rich girl fell much, more for the poor guy than the rich guy. There was a sense of justice about it that I really fell for. And just the kind of in-love-with-love thing. I found the character really fascinating and challenging in the sense that she was incredibly torn. She didn’t know exactly who she was.
EMPIRE: Was that something you were feeling too?
WINSLET: I realize now, looking back, that I was going through all of that at the time. I 100 per cent didn’t know who I was, didn’t know what I wanted, didn’t know what direction I wanted my life to go in, was terrified by the several directions it was going in and desperately trying to hang on to myself. It really sort of mirrored what was happening for me in my life then with becoming famous and being nominated for an Academy Award and all those things. There was just something very real to me about that character at the time. Also I was kind of fascinated with Titanic and the sinking of the ship and that whole story, which my daughter’s just starting to become aware of.
EMPIRE: James Cameron has a reputation as a tough cookie.
WINSLET: I know, and he was tough, but you knew he was always pushing for the best. One thing I will always admire about Jim Cameron — if something on Titanic didn’t work, he would say. “Well, let’s move on and find a different way of doing it.” And to be able to admit that your ideas haven’t worked in front of a crew of sometimes 200 people — how brave is that?
EMPIRE: At what point did it occur to you, “Bugger me, I’m in the biggest film of all time”?
WINSLET: I think when I first went to see it. I missed both the premieres for that film. When it premiered in London I was doing Hideous Kinky in Morocco.
EMPIRE: Which was a rather unusual choice for a follow-up.
WINSLET: That was my kind of, ‘If you want to save your life, go and do this film in Morocco’ moment. I was only going to hang on to myself if I went and did this film… But Titanic, yes, I was flown into London for the premiere and I was really ill. I’d got some kind of terrible amoebic dysentery — a terrible, ghastly, vile thing — and I ended up in hospital on a drip the day of the premiere. I started the junket and had to leave immediately and was rushed to hospital and ended up on this fucking drip. So I missed that, and then the premiere in LA was on the same day as my ex-boyfriend’s funeral (Winslet dated actor Stephen Tredre, 12 years her senior, between 1991 and 1995, who later died from bone cancer), and obviously I couldn’t go. So by that point I still hadn’t seen the film. I’d seen various versions of it without the music and so on, but not the full thing. So I went with a friend in New York — we went to the movie theatre and saw it. And it was just packed with people sobbing and laughing and there was this endless queue to get in. And that’s when I thought, “Fucking hell, this is a big film and I’m in it.” The way they say my name! (Adopts trailer man voice) “Kate Wins-let!” Oh God, it just sounds so weird. It’s like them saying. “The postman’s daughter!” I still have that, “Oh God, that’s me” thing. I know that doesn’t sound believable, but I still have that feeling when I flash up in the credits. If I’m sitting next to Sam he says, “That’s you, that is.” And I just whisper “Shut up!”
EMPIRE: Titanic might be your biggest film, but your most popular performance is in Eternal Sunshine Of The Spotless Mind.
WINSLET: It is my favourite. It was so challenging and so much fun doing that film. I just literally got to play around every day and try stuff out and push my character right to the edge. I thought I was being so outrageous that none of what I was doing was going to make it into the film, but a lot of it did. Yes, that was a very rewarding experience.
EMPIRE: You and Jim Carrey are a pairing that shouldn’t really have worked on paper.
WINSLET: Yes, Ophelia and Ace Ventura: Pet Detective. But it was one of the best experiences I’ve had. When you think about it, I was the Jim Carrey role and he was the girly one. It was terrifying to start with. I didn’t know if I was going to be able to do it. I just wasn’t used to being the funny one.
EMPIRE: It was a good dry run for your best comic — and best Oscar — moment: Extras.
WINSLET: Oh God, Extras! (Claps hands. Hoots with laughter. Nearly falls on floor) Oh. My. God. I think that was one of the best things I have ever done, just in terms of an experience. It was just so hilarious. Absolutely eye-wateringly hysterical. I don’t think I ever got through a take without pissing myself laughing. And also Ricky (Gervais) is dreadful because he willfully tries to fuck you up. He’ll fart in the middle of a scene and won’t crack a smile. Meanwhile, you’re desperately trying to deliver your dialogue in that kind of monotone, ‘not trying to be funny but the dialogue’s very funny anyway’ kind of a way. I don’t know how they cut it together because we were just in complete hysterics. But I loved it and was so glad he asked me to do it.
EMPIRE: When did he ask?
WINSLET: He told me about the series, in fact, a long time before we did it. I met him at a thing and he told me about it and I begged him to let me be in it. And he said, “Actually I have got this idea that I’d like to make you a nun.” And I just shrieked, “Oh my God, that sounds hilarious!” It was a good year before we shot it, so it was the thing that I just couldn’t wait to do. I’m so glad I did it, and more people probably come up to me on the street now than did around the time of Titanic. (Puts on New York drawl) “Oh my God, Extras. I loved you in that.” And I just thought, “Christ, if I knew I was going to get this much recognition for flicking my knickers out of my bum and pretending to be myself, why have I been sweating so much these last ten years?”
EMPIRE: Was all that, shall we say, ’sexually instructive’ dialogue there in the script?
WINSLET: Totally.
EMPIRE: All of it?
WINSLET: Totally and utterly. I did actually have to get them to rein it in a little bit.
EMPIRE: “I’m aching for your purple-headed womb-ferret” was the reined-in version? What was there before?!
WINSLET: I cannot even repeat it. That line was always there. “Willy Wonka between my Oompa-Loompas” was always there. “Pudding myself stupid”, all that stuff. But there were a couple of lines that were just so on the edge that I had to sit Ricky and Stephen (Merchant) down and say, “Listen, you’re going to have to change this line.” And they were like, “Aaaaw, but it’s funny.” And I said, “You guys don’t understand. I have spent more time in America than you have. People love you and they love your stuff. But these are just not politically correct. You could lose a lot of fans. You’ve got to change it to something that’s as funny, but not so bad.”
EMPIRE: Go on, what was the line?
WINSLET: Honestly, I can’t, it’s just so bad. (Points to recorder) I’ll tell you after that thing’s off. But you know, I just learned my lines and did as I was told.
EMPIRE: Your parents must have been so proud.
WINSLET: They thought it was brilliant! My mum rang saying, “My God, darling, you were so hysterical,” and my dad was like, “That was fucking great, I loved it.” I’m just so glad I did that show.
EMPIRE: Do you think you’ve killed your chances of getting a real Oscar? Maybe you could do the “guaranteed Oscar winner” Holocaust piece from the show?
WINSLET: (Adopts gravely serious tone) Oh yes, I’m actually working on a Holocaust piece right now.
EMPIRE: You’re by far the youngest subject of the Empire Interview. Previous interviews have been with people like Harrison Ford and Michael Douglas. But you’ve done a hell of a lot for someone of your age. Your CV is comparable.
WINSLET: Oh, don’t be ridiculous.
EMPIRE: It is. You’ve packed a lot in. Have you left yourself enough to do for the next 30 years? Do you
think your career can still be as interesting when you’re, say, Judi Dench’s age?
WINSLET: Christ, I hope so. Christ, wouldn’t that be nice? I don’t know. All you can hope for is to keep doing your job as well as possible and hope that people keep inviting you in. I’d love to still be around and working and doing this when I’m Judi’s age. I mean, my God, to be like Judi or Meryl Streep, that is just sort of beyond my wildest dreams.
All The King’s Men is out on October 27. Little Children is out in November. The Holiday is out on December 8.
Empire Magazine. November 2006. Issue 209.
Transcribed by Richard. Thank you!
Posed in: News > All the King's Men > Interviews > Little Children > Extras > The Holiday
