For the very first time online, please enjoy our classic Andrew Garfield interview.

The original story was first published in BLAG Vol. 3 Nø 1 print edition in 2009

Interview and Photography by Sarah J. Edwards
Art Direction and Styling by Sally A. Edwards

Part 1: The Collective Unconscious of Hollywood

Andrew Garfield is the first person ever to use the word 'Befuddled' in one of my interviews. We're sitting in the restaurant of the Soho Hotel and well... It was a shock – I hid it well though. His proper home counties accent – which feels like it’s given me a case of the Eliza Doolittle’s – is tinted with an LA twang, yet dips and twists when he swears. As do his mannerisms. His slouchiness meets high energy is surely fueling the wave he is riding; his exciting life – which has thrown no small number of incredible experiences at him.

Born in LA, Andrew moved with his American father and English mother to Surrey when he was three years old.
He now splits his successful life between London and LA. He's a man who's in love with his girlfriend, his work and a willing student of life, with passion in abundance.

The BAFTA winning actor has appeared in three very notable films so far; in Boy A, Andrew stars as Jack Burridge, the story of a young man re-entering the world after an institutionalized life following a child murder.

Robert Redford gave him his first US break in Lions For Lambs, the highly charged American political drama that also starred Meryl Streep and Tom Cruise and thirdly Andrew appeared in The Other Boleyn Girl.

His two upcoming films may well see him accepting awards again, as he stars in the UK thriller Nineteen Eighty-Three and Terry Gilliam's much-anticipated The Imaginarium of Doctor Parnassus alongside Heath Ledger.

You were born in LA and then moved to Surrey, what clues throughout your childhood led you to pursue acting full-time?
“Fantasy, played a huge part in my life, I think. Especially as I became an adolescent, fantasy was important in terms of trying to disregard reality, because reality wasn’t living up to my expectations – as everyone goes through.”

I think that’s a real creative trait though, don’t you? “I guess so, yeah. I guess you want everything to be better, you want things to be perfect and you want people to be better. You want human kind to be better; grass to be greener. The sky to be clearer, you want to be able to fly; you want to be able to grow a beard quicker. Do you know what I mean? So, I think it’s unfortunately a curse that you’re never satisfied with what is real, when you’re that age.”

Do you think you still have an element of that now?
“I’m trying to hold onto it. I think it’s very easy as you get older, you accept things easier and you become more willing to say, you know what? ‘I’m going to be much happier if I go... this is a table, this is a chair, I’m sitting on it, I’m having a coffee right now, that’s fine. I don’t need to be in Mozambique right now.’ Unfortunately, that side of me [has dulled] a bit, but I’m a lot happier because of it as well. I think trying to find a balance is the ultimate goal, between happiness and acceptance of what’s going on around you. How the world works and on such a small scale, how the business of film works. Accepting that and not trying to fight that. But also, trying to fight that and dream of a revolution in terms of, holding onto your ideals and your idealism. It’s really, really difficult, because you kind of want to hold onto the child in you, because that’s what keeps you using your imagination and keeps you dreaming, but then, I don’t know. I’m trying to figure it out. It’s a big one, isn’t it?”

“I just watched a lot of films when I was young, just because I needed to. I needed to escape into other worlds. It was mostly fantasy films like, Back to the Future and adventure films like, The Goonies or something with an element of fantasticalness about it like, Bugsy Malone. Something off kilter – where young people were empowered. I found that interesting.”

So, did you study acting?
“Yes, at A-Level, but not before. I came into it quite late. I did a play at school and I had a very good drama teacher who was like, ‘You should do it. You should try and pursue it and see if you keep enjoying it.’ I just carried on and my relationship with it changed over the last eight to 10 years.”

And that encouragement is really important, isn’t it?
“Yeah, I guess. I needed that. I didn’t know what I wanted to do; no one knows what they want to do when they’re that age. Even my friends at my age don’t know what they want to do. But as soon as you can see in someone’s eyes and they’re looking at you knowing you have something genuine to offer, it fills you with energy and it’s inspiring. So, I’ve very thankful to Mr. Tong.”

Do you split your time between LA and London? “Yeah, at the moment yeah. For the last couple of years, because I got an American agent and because of the first film I did which was an American film. I enjoy it there; I have a girlfriend there. To keep a long distance relationship alive takes that energy and one of the main reasons I go and back and fourth is to hold onto something special, you know?”

That’s really cool! So, I was going to ask what are the best and worst of both worlds?
“Gosh. The service industry in London is the worst I’ve ever experienced.” [laughs]

It is amazing as soon as you go and experience something else, you can’t believe what you’ve been putting up with sometimes.
“Yeah. In Los Angeles, it’s the best I’ve ever experienced. It’s an art form there. People seem to take pride in it and people seem to want to help. I don’t know why? It’s for a reason [unbeknown] to me but, you feel good going out for lunch. It’s a very small kind of petty thing, but it makes a huge difference and the food there is good.”

That’s America in general though isn’t it?
“Yeah. I guess so, although I went to Texas recently, a very small place called Fort Davis, which was beautiful but the local cuisine was pretty terrifying. But I think in any city, it’s going to be pretty excellent. But some of the best parts of London? I love London. Walking, the weather – that you actually have weather here and that it’s constantly changing and it’s a city you’re constantly trying to figure out. As soon as you stop being lazy, you can find something you’ve never seen before, I guess. Unfortunately you get into habits, don’t you?”

“You go to the same theatres; you go to the same restaurants, bars and the same areas of town. And the sun, I guess. The sun in LA is the best and the fact that someone who I’m in love with is there. And the fact that you can skateboard, surf and snowboard in a two-hour radius of each other, that’s a dream for me.”

Good weather does provoke more of an up-for-it attitude.
“Yes, it’s very positive place. Although the very negative part of LA is the collective unconscious, which is impossible to avoid, because as soon as you wake up, you get out of bed, look out your window and there’s a billboard for a movie. You go out your front door and there’s a billboard for a movie. You get in your car, there are 80,000 billboards for movies. So, you can’t help but be constantly thinking about the movie industry. When you’re in it, it can be the most claustrophobic thing. What you want to do is just not think about it, anytime really. When you’re working, you’re working – it’s nothing to do with business, it’s to do with art, hopefully. When [I’m] not working, I wish that going to the movies could become innocent to me again. That’s the thing that has disappointed me about getting involved in this industry, because what was my favourite thing in the world, has become something that I enjoy less. I’ve become more critical of myself, unfortunately and therefore the things that I go to see. So the collective unconscious is quite ugly and depressing, I guess. Not in a Xanax way, but in an oppressive [way]. It’s quite oppressive and claustrophobic and narrow and it’s difficult to break.”

Part 2: Nominee Truth

Let’s talk about Boy A, can you tell us about your character Jack?
“He needs to feel innocent in order to live. In order to have a life he needs to forgive himself, which he ultimately fails at doing. It’s not about how other people see him, it’s about how he sees himself. So, he’s worked extremely hard, he’s been through a lot in this youth detention centre. He’s come out of it on the road to forgiving himself and understanding that it was not his fault. He had learnt from example, he was not given the love or attention that he needed as a young person and therefore it was cause and effect, as opposed to he was born evil and he was always going to be evil. He wanted love. So, I guess he is just trying to live, trying to find himself and find forgiveness for himself.”

You won a BAFTA for your part, who were you up against in that category?
“Really good people, Tom Hardy. I think he’s incredible. He has gravitas, which I really admire and he can be quite terrifying, which I think is something you can’t teach. I think it’s an amazing quality. He’s a very talented guy. Then, Antony Sher who I saw play in Macbeth when I was 13 or 14 years old and to be in his company was ridiculous. Matthew Macfadyen who was Mr. Darcy... It’s just silly that I won really overall [laughs]. I feel like I pulled the wool over quite a few peoples eyes that night, so that was quite fun.”

What the actual feeling when you had to get up and accept the award?
“Mostly fear and release. There was a big release that I experienced. I really didn’t know what was happening, whether I was going to win or not and I was pretty sure that I wasn’t, genuinely. So, it was surprising. I think it was the third to last award of the night and I sat for two and a half hours in this little theatre chair, sitting behind Harry Hill, just in front of the guys from Peep Show and it was just like, ‘What am I doing here?’ I do not want to be here. I’m not here yet. I shouldn’t be here yet! This is too early I need to suffer a bit more before I get this kind I felt guilty almost and sweaty and hot.

“My girlfriend kept on trying to hold my hand and it kept slipping, because I just couldn’t do it. My palms were just... so, even when you’re there and you’re going ‘I don’t want to win or lose’ somehow you get wrapped up in it. If you lose you have to not look disappointed – but of course you’re disappointed, because when the idea is put in your head, that you might get one of those silly little masks you go, ‘Fuck! That’s cool, I can show my kids that, I can show my grandkids that.’ That’s something solid, in an industry that’s un-solid, in an industry that you can’t really fathom. You can’t get an A+, you can’t get graded on it. I got wrapped up in it, unfortunately and I was like, ‘Oh, it’d be lovely, it’d be lovely to have one of those things.’ You’re obviously nervous you have to stand up in front of people you really respect and admire. You want them to think you’re funny. You want them to like you, you want them to get to know you and it’s an opportunity. As soon as there’s a small window of opportunity, suddenly the pressure starts to be applied – via myself – I do it to myself. But then when I won, it was pure joy for a second [clicks fingers]. It’s pure utter jubilation inside and I got up there, on the walk up I nearly cried because it was just really weird. I was just overwhelmed, not because I was happy. Well, I was happy, but I was overwhelmed, it was a well of emotion that was released. Obviously something is going to come out of that, but instead of crying I think I just stuttered a lot and kind of got very nervous and made a fool of myself – which is fine! It was the best thing I could have done, because I think people appreciated that I wasn’t trying to be anything that I wasn’t. I was just being nervous and stupid and I don’t really care what you think, kind of thing.”


With nerves, I don’t think it matters about what level you’ve got to with your career, I think they’re always a good thing.
“Yeah, yeah, adrenalin helps you. They keep you self-aware, they keep you active. Exactly. It was just a really interesting thing. It was just very, very weird. Then, I had a panic attack in my sleep that night.”

I think it’s when you’re working so hard and it hits you that you’ve been acknowledged and that someone has belief in you as well.
“Yeah, yeah, yeah. It’s scary and suddenly you have expectations to live up to. Suddenly it’s like, ‘Oh fuck! Now I’m an actor, now people think I’m an actor.’ I fooled these fuckers. I really feel like I fooled people and that I’m just waiting to get found out.

Is that what caused your panic attack?
“Yeah, I think so! Yeah. In the middle of the night, I was bolt up right, half asleep; half awake and literally couldn’t breathe. So, me and my girlfriend walked outside, just sat down and she woke me up. It was one of the most beautiful moments ever because, I thought, ‘Thank God, [here’s] someone who just likes me outside of all this bullshit.’”

Did you see a change in people’s ways with you?
“I think that night at the party or dinner whatever afterwards it was... People look at you a bit longer, people who don’t know you.”

Yes, you’re the over the shoulder person. “Yeah! Yeah, yeah, which is the first time that’s ever happened and hopefully the last time. It’s funny, you feel like you have something up on foolish people who think you’re something more than you are. It’s lovely to be acknowledged, I’m not degrading that, I think it’s really wonderful that people think I have something to offer. It’s reassuring that I can carry on doing this and feel good about it.

“But it’s when people haven’t ever seen anything... a friend of mine is a huge star at the moment and he became a huge star before his film even came out and he’s fantastic in it. But the point is, before that, people were looking at him like he was God and it’s sad. It’s really sad, because it’s like, we’re so quick to go, ‘Oh my god, oh my god, oh my god, you’re amazing, you’re amazing, you’re amazing’ for no reason. I can’t quite figure it out, people get built up in this industry. Well, any artistic industry I guess. People get built up and built up and built up until there’s a fever, like a fever pitch and it doesn’t matter whether they’re good at what they do or not.

“Those are the things that I have to keep a check on myself for doing, because maybe I’ll see someone in the street and think, ‘Oh, she’s in this new band and I have no idea what their music is, but she looks interesting.’ It’s judging someone on nothing solid. It’s judging them on hearsay, hype, advertising and marketing. It’s like believing marketing and its manipulation and it’s difficult. That’s why I was talking about the collective subconscious of Los Angeles, it’s all manipulation and if we haven’t got a consciousness about that, then I think we’re not going to evolve.

“This industry especially is not going to evolve and turn into what I want it to turn into. It’s always been an industry and it has to be an industry in order for it to survive. But, I would love see the balance in my lifetime go from where it is now, [which is] tipping the scale towards business. I would love to see it tip back to what it’s first and foremost about, which is creating something. Trying to make something and affect people with something. Whether it’s to make someone think, whether it’s to move someone, change someone’s opinion, create debate or reassure someone. I don’t know. Sorry, rant. Jesus Christ, that’s a lot of talking. I’ve just become conscious I’ve said a lot of stuff...two coffees, that’s why.”

Part 3: The Serendipity of Robert Redford

[Laughs] It’s ok. I know you’ve probably talked about it a lot before, but I was interested to hear about your audition with Robert Redford and how it all panned out. Did you audition for anyone else first or was it him straight away? “Yes. It happened very serendipitously.”

That’s always the best thing.
“Yeah. It was one of those things where... and I found out recently it seemed even more destined to be – working with my Mother on our family tree. So, I was doing a play in London called Chat Room at the National Theatre, it’s a play by Enda Walsh. Stephen Daldry came to see me in this play. He did Billy Elliot, The Hours, The Reader, he’s a wonderful man. He was advised to see me by his assistant. Saw me, brought me in for a screen test for a film he was doing. I tested. The film never got made, but hopefully it will do at some point. Then the Casting Director – who was working on that film with him – saw my tape, was also casting the Redford movie, while I was in LA. Brought me in to read with her on tape. I read. Did a fine read. Then, she brought me in to recall with Redford. He found out I was English and didn’t want any English people, because it’s a quintessentially American role, but my American accent was pretty good – I think because I was born there and my Dad’s American and by a lot of convincing – by Avy Kaufman who was the Casting Director – he saw me. And it was one of the best auditions I’d done, thankfully. And I never do a good audition and it was fantastic! I still knew I wasn’t exactly what he was thinking about, but I think I confused him. Befuddled him and he brought me back in to test with him. So, I had to read with him, which was one of the most incredible days ever.”

Did that spark up your nerves again or not? “You know what, I think there are different levels of pressure that have different effects on me. When it’s a pressure that is a lot, I crumble. But when it’s a pressure that’s fucking ridiculous, I just get in the zone. So, I think when it’s something as ridiculous as that and I go, ‘This is one of the biggest opportunities I’ll have in my life,’ then my instinct sinks in and my competitiveness – I’m very competitive – that just kind of goes, ‘You’re not fucking this up! No fucking way! You’re doing everything you can to achieve this, because this is your dream and you need to achieve your dream. So, shut the fuck up and let’s do this.’ So, I think that happened and I just suddenly just tried to fuck with him during the scene.”

It’s great isn’t it though, when you get on that path? It’s brilliant.
“Oh yeah, it’s wonderful. It’s like you’re free falling. It’s like jumping out of a plane. It’s wonderful. So, anyway, I read with him and he booked me in for another recall and then two weeks later he offered me the job and that was it. Then, I found out recently that my great Uncle is a guy called Stanton Whitmore and he wrote the original Fugitive TV series. He’s the only person in my family that’s any relation to the film industry and he gave Redford his first film job, he wrote the film War Hunt which was Redford’s first movie. It was funny that he gave him his first movie and he gave me my first movie, I found that quite interesting.”

Can you tell us about how you prepared for it? You already had your accent down, didn’t you? “No, I wanted to make it as clean without any fault. I hung out a lot at USC; I went to Political Science lectures. Hung out around Campus, just trying to fit in.”

When you hung out, did you keep the accent? “Yeah, I did and I tried to pick up on a different physicality and a different pace. Naturally, I’m quite fast paced, so I tried to slow that down. And because he was the President of his Fraternity, I went to a few Frat parties, which was fucking terrifying, so scary. They’re all these fucking huge jock-type, half-obnoxious, half- really interesting guys. It was a whole different world, it was really, really interesting. They party there, they really go for it. It’s kind of their life for three years. I don’t know if I think it promotes brotherhood or if it promotes fucking war. Cliques form and I don’t know.”

The way it was filmed, it’s pretty much three separate films, was there any interaction with the rest of the cast?
“I went onto the set to watch the other guys do their stuff because, why wouldn’t I? It was such a good opportunity to go and watch Meryl Streep, take to take to take to take. To see what she was doing and see the dynamic between her and Tom Cruise. It was fascinating and to see the other two younger actors do their thing. I got to know Michael Peña a bit because we got to do the press tour together and Tom Cruise too, who’s a really, really sweet guy. A really genuinely sweet guy.”

That was my next question actually, what was it like promoting with other actors who are so established?
“It was lovely because I didn’t have any pressure on me. I knew that all the questions would be directed at them, so that was great. I could just sit on a stage at a press conference in Germany, right next to Tom Cruise and see how he dealt with things and certain questions. It was like I was a fly on the wall, in a very exclusive get together. It was really interesting. It was really fun and I met Meryl Streep on the night of the premiere and she was adorable and that was it really.”

I’ve just watched Nineteen Eighty-Three and found it again really gripping. What do you think it is about British film apart from the obvious gritty factor that creates such a feeling? There’s kind of a bluntness that you don’t really see anywhere else.

“In the north of England, I think there is that bluntness and a culture of honest under-cutting, maybe. There’s not much game play really. I feel in the south there’s a lot of dishonest under-cutting and there’s under-cutting, which is ugly in a way. Like as soon as someone becomes successful here in the south, people immediately very subtly go, ‘Well, you’re a dick’ and just stab you in the back. Whereas up north, it’s [in accent] ‘Shut the fuck up, you fuckin’ twat.’ It’s more honest and it’s much more open. Therefore I feel it’s more acceptable. Yeah, that’s a good question.”

If that film was made in the US, there would be that little extra gloss to it and I guess it’s just picking out the small elements that make it different.

“There’s not much showing off. There’s no sheen. It feels genuine and honest. Yeah, you’re right. If it was done in America, you’d know what the actors looks off camera would be like, they’d be looking over their shoulder, one eye brow raised and their thinking faces would be put on. There are certain things that those people would want to adhere to. There’s a vanity, I guess. Whereas here, I don’t feel like there is vanity.”

I wanted to chat with you about how you prepared and the whole costume. It was interesting and I guess we all know it, but it just really flagged up to me that clothing is just really made to fit now, they’ve really nailed it. So, was it uncomfortable?

“At first it was kind of odd, [pauses] well, no actually.”

Part 4: Carry On Heath Ledger's Gentle Way

We’ll you’re lucky, you didn’t have to live through it.
“Right, right, right! It was fun, it was nice. It makes you move differently. When you know that your arse and your groin is going to be seen through your trousers, then you have to hold yourself differently and you can’t hide. You’ve just got to fucking go, these are my legs, and this is my arse... whatever. It also felt like a very different period of time when men were men and women were women. As opposed to now where it’s interesting for men to wear their collars up, wear the glasses and curl up – their body language says, ‘Don’t look at me’ and girls are like, ‘Ooh, that guy’s geeky and interesting.’ This is like, you’re a peacock, you’re a fucking peacock, you put your chest out, you show off your cock and you go, ‘Oi, come over here, I’m the best in this room right now, so let’s go home and I’m going to show you a good time.’ So, getting into that frame of mind, I’ve never had to think of, because I’m more the person who goes, [curls up], ‘I’m interesting, I’m interesting. I promise you, I’m interesting.’ [laughs] That was fascinating actually, having to be confident otherwise you’ll just get lost and having to have a voice and a fucking body, like ‘This is fuckin’ it.’ I love exploring different sides of who I could possibly be, if I was born into a different time. If I was born to another person’s skin, I find that fascinating.”

During the photoshoot we were talking about Alexander Technique. I would love to hear more about that and how you use it within you work. “Yeah! I’m still trying to figure out all that. I only really had one proper Alexander Technique lesson with this guy, Gerry Grennell who’s the most wonderful teacher ever, who worked with Heath. He was on Terry’s film all the time, so it was really useful and beautiful to have him around. The method that he uses is Alexander Technique, but I think what he’s done is, he’s made it personal and he’s made it his own. He’s actually created something which is not just about being your in body and your spine being aligned, but it’s about your focus and your energy being aligned and being used in the most productive and positive way. It’s about aligning your mind, your heart, you body, your soul, your feet, everything. It feels like the ultimate way to live. It’s like aligning your spirit. I still need to look into it more, because when you have a happy body and your body is relaxed and you can breathe easily, then your life’s going to be pretty beautiful, I think. In a simple way, it’s like meditation I suppose. Making sure you have a clear body and mind and not focusing on things that aren’t needed to be focused on. It’s about being in the now, I guess. And not worrying about yesterday, not worrying about tomorrow and realising the only thing in this life we ever truly experience is right this second, right now. As soon as our mind takes over and we go to ‘that stupid thing I said yesterday,’ we’re not experiencing life in its purest sense. [laughs] There’s another ramble for you.”

I wanted to hear about Terry Gilliam’s new film and your role in it. Obviously the concept changed and I don’t really want to ask you an actual question here, I’d like you to just freestyle it.

[Laughing] So, I’m giving you permission to rant about this one.
[Laughs] “Whereas before?”

No! It’s fine.
“I haven’t seen it yet and I don’t know what film Terry has come out with, but I know he really likes it. I saw him the other night – and he got that BAFTA Fellowship thing – and he loves it, he’s really proud of it. Which is scary for him, because he never usually is proud of his movies. I think it has a lot to do with what Heath brought to it.

“It’s fantastical; it’s about the meaning of life. It’s about imagination – like we were talking about at the beginning of the interview, it’s about creativity and generosity. Good verses evil. It’s about purity and innocence verses corruption and ugliness. And it’s about the choices we make in our lives, which ultimately define how the rest of our paths are going to be, so it’s quite deep, actually. [laughs] But on the surface, it’s just fun. I think it’s going to be a fucking frolic. Hopefully it’ll be like jumping into a bouncy castle with a bunch of mates and banging your heads together, trying to do somersaults and hurting yourself a little bit and getting back off the wall. Hopefully it’ll be like a playground to watch.

“I think it will be, knowing Terry, knowing his sentiment and sensibility. The people involved are the strangest mix of people ever; an unknown actor, myself, one of smallest people, proudest and most beautiful people in the world Verne Troyer, one of the most aesthetically beautiful people in the world, Lily Cole and also astutely intelligent and talented. One of the most creative, genius, unique people, I’ve ever met, Tom Waits.”

What is he like?
“He’s just inspired. He’s inspired. He has the most exquisite way of seeing and hearing things. There was one day where he brought in a recording of crickets, I don’t know where he found it [laughs] but it’s slowed down to the life span of a human. It was the most beautiful thing. It’s like a choir of monks chanting. So, he has the most exquisite way of being and talking, he talks in song lyrics all the time. Unconsciously, it’s not pretentious, it’s like this is the way he sees the world and it’s rich and inspiring all the time, so he’s pretty cool.
“And then you have Christopher Plummer, who’s one of the oldest most treasured theatre actors, him and Verne Troyer have this double act. So it’s this tiny little funny guy and this big master of the stage, it’s just wonderful. Then you have Heath, who was one of the finest, most awe- inspiring people I ever met. Someone who I just wanted to emulate. I wanted to learn from him. I wanted him to respect me as much as I respected him.

What is he like?
“He’s just inspired. He’s inspired. He has the most exquisite way of seeing and hearing things. There was one day where he brought in a recording of crickets, I don’t know where he found it [laughs] but it’s slowed down to the life span of a human. It was the most beautiful thing. It’s like a choir of monks chanting. So, he has the most exquisite way of being and talking, he talks in song lyrics all the time. Unconsciously, it’s not pretentious, it’s like this is the way he sees the world and it’s rich and inspiring all the time, so he’s pretty cool.
“And then you have Christopher Plummer, who’s one of the oldest most treasured theatre actors, him and Verne Troyer have this double act. So it’s this tiny little funny guy and this big master of the stage, it’s just wonderful. Then you have Heath, who was one of the finest, most awe- inspiring people I ever met. Someone who I just wanted to emulate. I wanted to learn from him. I wanted him to respect me as much as I respected him.

“Then you have Terry who’s just allowing things to grow. His like the puppet master, but he allows the puppets to sometimes have a heart. He allows you to run free, so it’s wonderful. It was one of the most cherished experiences I’ll ever have, mostly because of Heath. I got to meet him and spend time with him and also, because of how utterly devastating it was. It’s one of the things in my life, which I will always hold and make sure I never forget, because it’s something I learnt a lot from. It feels important to take on everything that he was and to try and learn from what he wanted. And to try and create what he wanted in the world, because he’s not going to be able to do it himself. I think he has left, in a lot of people, that need to carry on in his gentle way. As one of his best friends said – which was beautiful – ‘We need to carry on in his gentle way.’ The world hadn’t seen a quarter of what he was going to do. He was going to change things I think. So, it’s a responsibility that I’m happy to be a part of taking on.”