It was my escape spot at every given moment of the day.ĭo you have a dream role you long to play? RJP: Something I couldn’t even imagine yet because it’s so far out of my experience that I could only possibly discover it through surprise: I didn’t even know this was a thing.
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We had a very, very nice coffee van that had very, very friendly people in it. It is a vice, but as far as vices go, I’ll take it. Inhabiting that space is the most challenging but also the most gratifying part.įavorite snack on set? RJP: Coffee. But it is the biggest thing about that scene for him. And that is never explicitly mentioned in the script in that moment. The kids are there and they’re all happy and playing and being accepted in exactly the warm and loving family that Simon never had. I really don’t want to be there, but you can’t say that. I’m at dinner for the first time with this family. There’s a moment in the house of the Bridgertons where it’s ostensibly a quite calm, happy scene. When someone says something that you don’t get to blow up about, that you don’t get to cry about, you just have to take that sting right in the ribcage and express that through a flick of an eyebrow or through the way that you cut your peas. The hardest moments are the very, very subtle barbs and hurts over the dinner table. I think everyone has these heightened emotional moments in them at all times you’re just controlling it and keeping it in check. What was the most difficult scene for you to film? RJP: It’s not always the extreme things that are the hardest. You’ve got to find the things that you don’t have, find that mix to make something complex and pure rather than just slathering cheap tricks over the top. It’s a little bit like color theory: If I put some yellow and some blue together, then I can get to green.
#Simon basset how to#
It really depends what tempo and rhythm the moment needs versus where I’m at, and how to do a little bit of alchemy with it. It’ll be Deftones at one point, it’ll be Vivaldi the next, it’ll be Nina Simone the moment after that. A lot of character work in finding what the differences are and what the bridges are between myself and Simon have to do with rhythm and tempo. I use it as a counterbalance to what’s going on in the day. Regé is freaking out because he doesn’t have his music. One of the recurring motifs on set was: Where are Regé’s AirPods? Regé has lost his AirPods. It’s a great way to explore what it is that people are looking for in their stories, what it is that people get from romances and fantasy and glamour - and what we can learn about ourselves in that, and what we can learn about what we perceive in love and romance and ambition.ĭid you listen to music at all to get into character? RJP: Yes, constantly.
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I’m looking forward to exploring that world a bit more. This is one of the highest-selling genres in the world.
#Simon basset series#
Were you familiar at all with the book series before you took on this role? RJP: I wasn’t, but a lot of people are.