Benedict Cumberbatch Opens Up About Grief, Birds & Emotional Filmmaking ｜ The Thing with Feathers

Felly I'm going to start of course following in the footsteps of such Babadook Monster Calls Andrew Arnold's brilliant film Birds Your week last week as well What do you think about creatures as metaphors feeling like we're working with the roles we're involved with in group dynamics That kind of trauma on screen I think that must have been anything concerning life in literal terms The paths of such a nature would be those I'm concerned about the ways of the ways of the future This is what I've been dealing with I'm looking at every cultural figure in Wales I was looking at any place something volved in lives and the like and it feels as though he's been there all along e time and awareness Therefore it is difficult to know what the thing is you're feeling like Edgar Allan Poe and a letter of excellent work where there is connection with the roads I think the thing about the different colors you know is that it's something else It's something difficult to get across you know Regarding obtaining it in a different form I think the story is saying something very good indeed You can look at something from different perspectives I think that's what it was A difficult period for Princess Diana's public image began when she arrived at the National Gallery I was making every possible effort and one of the men involved was After that you were holding the casket and I was looking after the coff for all manner of progress ahead along this path That was the one to follow I think something about the spirit world and the idea of being safe e area being written about concerns the increase concerned with the success of the flight and they are difficult to comprehend by historical figures They also deal with time which is something essential for success and power of the historical figures here They are difficult yet they are successful They're fully engaged with this potential When the cro I had to move on to the set I had decided on that It's coming with all the way forward the power and the potential but It's about the historical figures—Not the glass But so stubborn it made me say Thank you they are very important to men and the number must be us man and man I'm knocking on their door at the same time opening my bag and at once reaching for my hat The crow was there I don't believe I've ever told you this before Or rather that was the time That's my book 48 healthy food picks she'd always say forget it I'll do the whole thing myself My wife can't stand pigeons I know a lot of them I live in a city where there are quite a few of them— that's troubling But no I've got a friend of ours wonderful Virginia A fantastic Spanish woman she's fearless except for birds—she's terrified of them I wanted to ask you about the character since he's simply referred to as Dad and you obviously don't need to explain what that means to me I'd be curious to know if you'd ever give it a name or if there were any unique differences The crowd of speakers none of whom had names I'm grateful if I was but I don't remember I think it was very important to create a genuine biography I couldn't understand who he was or what the mixture was building the trust with Cleo who's playing her name His name is Dan which is significant and especially significant in particular Otherwise the reliance placed on him becomes chaotic after his selection I needed to understand who he was and also get things from the record in the institution Dealing with a true biography is something I can engage with to fully appreciate its significance You don't need to worry about what you see on the screen it wasn't necessary Its elliptical nature is fundamental and environmentally significant Felly I'm really putting in a lot of effort with Margaret and I mean all the prep is about figuring out who any person I'm playing is When the work begins and then it involves a great deal of effor yesterday's work met reality which is relating to a computer and original computer relating to activities I was asking you because I'm asking Clearly themes are very large and they are very large They're extremely hard to keep track of given all the advice but I wanted to know If you're managing children on set like this I have to ask how serious are you You're putting them in a state of confusion and dealing with their control in those matters ey clearly are playing childre Indeed we're taking a serious look and in the film the two paths—Richard and Henry Boxall— It's utterly impossible and I'm leaving it as it hadn't asked for anything beforehand We're taking a lot of questions because That was new to them and we're introducing it because they'receiving the kind of interes Actually we haven 't been to the schoolroom for a while so we haven't learned anything at all that we could possibly learn Allan o'r blaen there is nothing being produced being produced but you know it's significantly difficultespecially For two front drivers there was excellent support from them we're making sure They successfully communicated the role they were playing making sure they were doing it rig It was interesting before I left—I wanted to ask about all the emotions you're supposed to feel I find it hard to work with the group I think of all the most difficul I was thinking about commuting every day and going to those places every day at the end of the shif were you engaged in discussing some notable ideas and were you able to I was going to do various things I was going to do The first part of the film was the very first part we photograph with its division Long ago I used to carry the burden of food and I was heading to that place and then it went o I'm going to that place where I used to do a number maybe two or two of those and there It's also my responsibility so I have ways to get there now and as I was saying It was far ahead of the recording'srelease and only after I had been beaten did the smoke finally roll in s motor his going a little rather than the period when you're not there and then you think Oh I have to writecompletely