Ian Calvin (Uncredited)'s Living Room, 10 March 1971

 "It is wonderful, isn't, yes. Proper prestige telly! Yes. Glenda Jackson! And really, thank you all again for coming over, it's so – Bit nervous, yes. Ha. Now, I'm not entirely sure when I'll be showing up, but – Oh, she's the... She's Mary Queen of Scots, isn't she? Or her mother– Oh wait, THIS IS ME THIS IS ME!"

 

"... And that's it! Anyway, on with the story... No, I think that's it for me... Mm?... Yes! One take!... Well no actually, second take, but for the first one my idea had been that I'd just, sort of, be going around hitting everyone, with the stick, yes, and the drum, just hitting them very, very hard with the – there were two sticks originally – but we didn't use that in the end, and everyone, me included, thought 'tone it down, Ian, well not me included, but anyway I think there were nerves and so that was all, yes, 'on the hoof' do they say? Not much research, no."

 

Wait! I've just seen he was in Les Mis! Fair play.

And he has an Appreciation Society!

"Imagine you're actually doing the thing."

 

 And I got the job!

 It's okay to post old auditions from 2023, right? And it's okay if you want a quick clip for your new showreel to just film the television with your phone, it's fine, yeah? Great. Here it is then. 

 The title of this post comes from director Katrin Gebbe's excellent advice to me on the set of A Thousand Blows as horses, carriages and stallholders reset for the seventh or eighth take of me finally getting to run out of a pretend hotel for real – obviously, you don't forget something like that. Look out too for some lovely fortuitous swipes, my favourite having to be Kellie Bright condemned to skeletoning at 2:10.