I could see him struggling. He really was in two minds, whether he was going to tell me.

Ah. What the title was, everyone. Well, what is it? He said, Clark Work Orange. Somebody asked me how I got to be cast and I went, oh, I think he saw if Stanley looked at his wife and said, we found our Alex. Wow. I read it again, and I knew that it was one of the great parts. Let's play the music, and I'll see. And it was sort of an intensity. And he was laughing so hard. He went, oh, that's it, that's it, that's great. You made the right decision because you're still here. I reading the New York Times best and worst lists. I have one film, honey. Ha, ha, ha. Malcolm McDowell, thank you so much, you honor me by being here. So I'm going to go out on a limb, but you tell me if I'm wrong. You've talked about clockwork orange about 100 times more than you've ever talked about the movie if, is that close, or is you want to get me a better ratio? Well, you know, clockwork is the jewel in the crown, as they say. I'm an amazing movie. And yes, I've talked about it, ad nauseam. And so what I try and do occasionally now is Zen myself back to sort of arriving in the car to shoot and seeing Stanley in his big kind of parkour thing, regardless of the weather, by the way. And then he had a dark blazer, a blue shirt and gray pants. And he wore that for a year. And I said, have you got six pairs of everything? Really? No. I think I don't know. Maybe you have two, but he considered dress to be of minimal importance. And but here's a man who would import a palm tree from Vietnam or something, you know what I mean? Well he put it, you know, he was absolutely brilliant on the technical side. Anything technical Stanley was the man. You could argue the greatest ever on that level. Without a question, I mean 2001 is one of the most extraordinary feats of effects ever, and it took, you know, science fiction, on a millennium jump before Stanley, there was basically Flash Gordon and cardboard sets. And Stanley went into the whole philosophical aspect of it. And made it a very, even though it was very antiseptic in many ways, it was also very moving and touching in a weird way. Of course, the only person really with any character was of course a computer. Well, we're in that now in our AI world. Yeah, I saw recently maybe in the last five years they did in Hollywood, a 70 millimeter print, a film print reissue of 2001. It's stunning. I saw it's on 70 mil. Right. And it was remarkable because a lot of those movies that special effects date pretty bad. Yeah. Somehow it held up. Well, because it wasn't computer-generated, it was models. Yeah. They were brilliantly done. Yeah. And he had the most amazing special effects team. They won the Academy Award, of course. I think Stanley kept it. Yeah. So let's talk about if because this is a movie dear to my heart and it certainly launched you and then sets up the clock recording, jewel in the crown moment. You're doing 12th night. I saw where you said you were playing the worst character in Shakespeare's Road. No, Shakespeare's Road. I say that with that Sebastian. I saw I saw where you you said you were playing the worst character in six barely wrote. I say that was that Sebastian telling my cheek. No, yes, Sebastian in 12th night. I was going to ask you what one great speech and right after the interval and you know when they've just come out of the bar, one great speech to shut them up, and that's it. But, you know, as a young actor, I've never done a film, of course, to work at the Royal Court was really an achievement because the Royal Court was where, you know, look back in Angus, started, and it's where all the great avant-garde playwrights worked. Joe Orton, for instance. Okay. All of Joe Orton's was done at the court. I didn't know that, okay. The court was like the greatest avant-garde theater. And I wanted desperately to work there. Of course, I get there. And it's not avant-garde at all. It's Shakespeare, the oldest, creaky-est old author of all. It was the whole thing where they do like a modern version of the... It wasn't, it was only modern in the dress. The text was of course, sure. And... Just as somebody who's done Shakespeare, how do you feel about when they do this kind of weird adaptations? Are you cool with that? Do you like it or? I mean, it's okay. I mean, look, there's plenty of room for everything. Sure. And we've seen, you know, straight plays this that everyone's trying. But I love Coriolainus. I love Coriolainus. Yeah. And there's a cool version like the BBC did that you can find but like one of the coolest versions actually Helen did Helen Merrin did with May have been Tony Hopkins. I'm not sure about that But it was a while ago of course, but I sure that wasn't when they did temp tempest No, okay, because there's like somewhere oh Tony did the tempest here in L.A. at the Mount Tape. I saw it. Okay. I went round and he went, Oh, Jesus. I knew, I knew some being. I go, what? He goes, Oh, dying. I just, I just speeded through the thing. I just got to get out of here. And he literally did speed read it. It was fast. But you know, that's the one way of doing it. Yeah, no, just because this version of CoriLanus that's out there that I think it's only time it's ever been turned into a film, did I know of? Yeah, they do it as like a narco terrorist thing. Like South American gangs. Well, it's like when they did in McK did Richard the third, which was absolutely brilliant, you know, and they did it like The Nazis party. I've never seen that in general. Was it a player? Was it it is amazing with one of the great performances from but is it a player moving? It was a play okay, and they made a movie of it.. Oh, and it's amazing. It's really fantastic. One of the greatest Shakespeare movies you'll ever see. Right. And is it as good as Olivier's? No. Nothing is as good as that. Yeah. By the way, a story, please, about that because it's kind of fun. This was told by John Mills, who was a great friend of Larry, we'll call him Larry Olivier. And he was opening first time in Richard III. And John Mills was organizing the party afterwards, after the first night. And, or this is the first performance, Anyway. So John Mill sought out, but pop in and see you know before just make sure everything's okay. We're okay for the party. He goes in there, livier's like this in front of the mirror and he sees it. He goes, oh, telling Jesus Christ, don't cancel the party. The party's off. I haven't got a clue how to play this, pardon this director's useless. And he's going into this whole thing. And Chris John Mills, a little first night thing or whatever. Okay, don't worry. Okay, we'll cancel. Don't worry. You'll feel better. Don't don't even worry about it, you know. John Mills said, he went out to watch the performance. This was Lawrence Olivier, spontaneously finding the character of Richard III as you watched it. You will never ever see that ever again because it happens in rehearsal.

Yeah. You never see it. Not when it's found. And he said it was one of the most brilliant things that he'd ever seen. Do you know what he was struggling with? God knows. Oh, But you know, he had great times when he just blocked, you know, I mean, well-known, but he did. And I understand that. And I used to think there but for the grace of God, go I, because it happened to another brilliant actor who I really liked very much. I was very fond of him. We were sort of friends, Ian Homme. Okay. Ian Homme was the best Henry V, I ever saw. I was in it moving furniture and I had two lines. And I used to watch him every performance from the wings I'd watch Ian when he did the wooing scene with the princesses of France and that there's all the great scenes. And I just thought, wow, it's one of the great performances. It's funny. So I haven't seen him for many a long time and I was walking down Notting Hill Gate and I bumped into him and I went, oh my God, and he'd known that I'd done if, you know, I was playing tiny parts the last time. So he goes, hey, oh, Malcolm, God, it's it's great to see you. So hey, well done on everything. And what are you working on? I went, oh, I'm doing this thing for this guy called Stanley Kubrick. And he goes, and I saw him recoil. And I said, what's up? Did I say something? He goes, no, just be careful of him. I went, why may I ask? He said, well, that, strung me along to do Napoleon for 18 months. He goes, after 18 months, who was supposed to go and do and start, and I'd had all the fittings and all

this and all the... he goes and suddenly not a call. I tried to call him many times. The phone was always dead. He said he didn't even have the way with all to pick up the phone to say I'm sorry I, I couldn't get the dough. We've had to postpone. And he just cut him off. And of course, having worked with him, I totally understand. Well, the kids call these days ghosted. He got ghosted. I was at it. Yeah, they call ghosted. It's like when people suddenly don't return your texts anymore.

Oh, I see.

That's really modern with the...

Well, I've heard it, but I never knew where it was. It means you don't exist anymore. Oh, wow. In the digital world. Sense of the word. Wow. Do people do that? Oh, yeah. They do it to me. Oh, well. Why would they do to you?

Oh, I'm sure they have good reasons.

I mean, people are cruel these days in a new way.

Well, people have always been cruel, that's face it. But I said in a new way, this is what I said. They found a new way to be cruel. Uh, okay. You see, when you have, no, I get it. When you have an instant constant attention being with the phone, when it goes cold, it's almost unfathomable that,

you mean when there's no colds coming in?

We grew up in a time when,

if you couldn't get to the pay phone,

well you just dealt with it.

Or you could, the pay phone would be dead

or something you'd have to wait to you got home

to call somebody.

We got used to those lapses of time.

In the modern era, a minute is a long time if somebody doesn't respond. Really, I don't respond, but you're right away. I mean, if somebody texts me, I'll look at it and chew it over. I don't even respond immediately. And I remember one guy sent me this whole thing about something it seemed that I'd done. And he went into this whole diatribe of why he thought it was great and what I did and what I, which was new to me because I just did it. Right? I wasn't trying to break it down. I just did it. And so at the end of it, I just sent him a thumbs up. Yeah. And sent it back. And he's got me disappointed. That's all I get. And I thought, well, yeah, that's all you get. I didn't ask for your comments. I once wrote Eric burden of the animals a long letter. He's my dearest friend. Had no idea. So you'll hopefully you'll be fine. Oh God bless him. I wrote him this long thing. Yeah. I made sure it got to him through somebody. It was probably an email, but I wrote him a long letter of appreciation. As a fellow musician, I've also covered one of his songs. And first song I ever learned how to play in guitar was House of the Rising Sun because I love the animals version. And so I think the greatest. He's one of those voice. He's one of the most underappreciated music LaRose ever. Yes. His influence in putting people together and all of it, including working more and Jimmy and all things. So I run this long loving thing, which was like, I just wanna let you know as a fellow musician and here, who's what, here's who I am and I assume he, because I covered his music yet some sense in who I was and all I got back was, wow man. Well, but again, but I'd be saying, did you go, oh, that's a bit, it was a bit much, but from him, a wow man, I'm knowing him, wow man, that was, like something out of Stanford. Says, wow, man. Wow. So I stayed on the positive with it. Wow, man. Well, but please say my regards. How nice we had fun. I hope so. But I can tell you from him, he'll give you a bit more than a wow man. And we love it.

Love to have him sit here and talk to him privately.

I just think he's one of the most

underappreciated musicians of all time.

...