Brettish.com updated with this link to another interview (which I added to my links post):
Jeremy Brett Interview with Kevin P. Murphy, November 6, 1991
I found this interview at one of the JB groups over at Yahoo!, but you have to be a member to read it so I thought I’d share it here: Jeremy Brett interview, HELLO! Magazine, 1990
The Ultimate Sherlock Holmes
Looks Forward To His Last Case
For hundreds of viewers in over 70 countries around the world Jeremy Brett is Sherlock Holmes. Jeremy may be regarded as "the ultimate Sherlock Holmes", but this year he is making what he swears will be the last of six of the one-hour Holmes films for television which have made him an international star. The eight-year course which has finally brought him to this decision has not been all easy: while he was working hard on the second series of Holmes back in 1985 his much-loved American second wife, Joan, died. A combination of grief together with the strain of playing the role resulted in him suffering a nervous break-down, and entering a nursing home. It's clear that the man behind the deerstalker and clay pipe is very different from the super-confident Holmes. As the son of a well-off English country family, acting was far from being the career his background might have marked him out for. And in fact Jeremy regarded himself as an impostor for many years. As an actor, he felt his high point of his career was when he played Hamlet at the age of 27; by way of contrast he was also Freddy in My Fair Lady. But with Holmes he has achieved world-wide fame and is now happily looking forward to some rest. Taking time out from filming he spoke exclusively to HELLO!
Jeremy, you were raised in Warwickshire and sent to Eton, the youngest of four boys. None of your brothers ever showed any sign of wanting to go on the stage. What drew you to the acting profession?
"It was really my singing voice. I was always accused of having histrionic tendencies, and when I went to Eton I was given wonderful things to sing. The audiences were wonderful, and my fan mail was immense.
"I remember one evening one shaft of sunlight was coming through the window of the chapel, and I assumed it was for me, and I stepped into it.
"When my voice broke, I became something of a plodder at school. But I never forgot that shaft of sunlight."
Before Holmes, what was your favourite role?
"Well, I was asked to play Hamlet when I was 27 by Frank Hauser. It was intended just to tour the country, but there had been a quite bad one at Stratford that year, so when we came into London, I cleaned up.
"The poster of me as Hamlet is pretty well the only piece of theatre memorabilia I keep around my home. It is behind glass, and it is going a bit beige now."
Playing Holmes has not always been easy, has it?
"No. When I first started playing him I locked myself into the hotel between 1983 and 1985. I wasn't going home at weekends. I was just sitting thrashing through my lines.
"When I came in, it depressed me to look at myself in the mirror. I couldn't wait to wash that stuff out of my hair and put on colour. He is such a black and white character.
"I started drinking champagne as a kind of celebration to lift my spirits. It started with just a glass in my bath, and grew until I needed a whole bottle to put me to sleep at nights.
"Well, that was getting entirely out of hand, and it had to stop."
Are children important to you?
"Yes, they are. I have three. David, who is my son by Annie (Anna Massey, his first wife) and two step-children by Joan.
"They are Caleb and Rebecka,- or Beckie as she loved to be called. They all mean a tremendous amount to me, and I feel very spoiled and lucky to have them."
The loss of your second wife, Joan, affected you very deeply.
"I have got used to people saying I will get over it. You never do get over it. You just get used to it.
"But I am not very good at losing people I love. I lost my mother, she was killed in a car accident, and it threw me for a loop."
How exactly did the loss of your wife affect you?
"I was advised that the way to get over it was to get back on my bike, and I get back to work. That is what I did, but I think it was wrong.
"I was worn out, but I went into a kind of overdrive. It wasn't manic depression: more of a manic high.
“Then when I had finished filming, I was so thrilled to be free and resting, but I couldn't sleep. And then it began to go wrong. I think I probably should have gone on Valium, but as we all know that also has its dangers.”
What will you remember best about the Holmes stories?
"They are a great essay in male friendship, which has gone now. Men's friendship has been debased. One of the lovely things about Holmes and Watson is that they do have this great platonic relationship."
When you have finished the six Holmes films what will you do?
"Now I think it is time to take lots of rest and think about what I actually want to do myself, not about what other people want me to do.
"But it will be a great comfort to me as I get older to be able to look back and say: "Oh, well, I did Holmes and I managed to do it not completely badly."
HELLO! number 104 - May 26 1990
Interview by Christopher Kenworthy
And here's the text to two interviews we’ve probably all seen before, but for the convenience of copying out a quote I thought I’d share:
Jeremy Brett Interview, National Public Radio, November 1991
Jeremy Brett Interview
National Public Radio
Interviewer: Liane Hansen
(The Sherlock Holmes theme begins)
Liane Hansen: This is Weekend Edition, I’m Liane Hansen.
(The Sherlock Holmes theme continues, fades as she begins to talk again)
Liane Hansen: When Granada Television first asked Jeremy Brett to play Sherlock Holmes, the British actor was not particularly enthused.
Jeremy Brett: I remember I drove away from the dinner . . . when I was asked, and I . . . I went with my son, David. And he said, ‘Dad, you don’t want to do it, do you?’ and I said ‘No, I don’t, I really don’t want to do it. I think it’s been done. I think it’s been done so many times I just think it’s an old chestnut. I don’t know – I can’t see any point in trying to do it anymore.’
Liane Hansen: Jeremy Brett did not think he had the stuff to play Sir Arthur Conan Doyle’s famous detective. At the time he was a romantic lead in Shakespeare and wooed Audrey Hepburn as Freddie in the film My Fair Lady. Besides, Sherlock Holmes had been portrayed by some of the finest actors of the century; William Gillette, Eille Norwood, Arthur Wontner, and, of course, Basil Rathbone. Intimidating competition. But Jeremy Brett eventually changed his mind, and is now doing his sixth series as Holmes. The Casebook of Sherlock Holmes premiered this week on PBS stations across the country as part of the Mystery! series. What prompted the change was Brett’s rereading of the entire canon. The fifty-four short stories and four novels written by Doyle about Sherlock Holmes.
Jeremy Brett: And I discovered all sorts of things that I could do if I had had the opportunity to do it. So I said ‘yes!’, with enormous temerity, and a certain amount of fear, and an element of excitement. We approached the scripts. I said, ‘But you’ve asked me to do Sir Arthur Conan Doyle’s Sherlock Holmes . . . these aren’t Sherlock Holmes – Doyle’s stories’ . . . I mean, the adapters had gone so far away. And the script editor said, ‘Jeremy, you’re here to act; just get on with it’. And I tipped the table over and my Dover sole landed in his lap.
Liane Hansen laughs.
Jeremy Brett: And that was the beginning of the tousle. I used to take the whole canon with me to every – the beginning of each film, and fight for Doyle. After about a year and a half I said, ‘Listen, if you don’t start taking care of me I may lose interest’, because it was such a tousle. But than Granada Studios stepped in and were so remarkable and wonderful and gave me two weeks rehearsal instead of the one. So the first week I could fight for Doyle and the second week I could work with my fellow actors. And that’s basically how it’s been ever since.
Liane Hansen: One of the things that you seem to do that other actors that have portrayed the role have not, is play up the less than pleasant aspects of his character. Even with Basil Rathbone you had the feeling that there was –
Jeremy Brett: Well, Basil Rathbone, first and foremost, is my Sherlock Holmes.
Liane Hansen: He is?
Jeremy Brett: Yes. Because he was the person I first saw, and I can’t see me of course, so he is my Sherlock Holmes.
Liane Hansen: But do you try to do what he does or to av-avoid what he does in order to make it your own? You do want to make it your own.
Jeremy Brett: Well, we are, a few of us in England, we are what we call ‘becomers’. In other words, you become the person you're playing. Rather like Stanislavski. Not - the method, because the method’s slightly different, but you become the creature, the person you’re playing. In other words, if I'm a sponge; you squeeze the liquid of yourself out and draw in the liquid of the creature or the person you're playing. And so I had to try and give birth to him. I made terrible mistakes. I’m so miscast, I’m a romantic-heroic actor. So I was terribly aware that I had to hide an awful lot of me, and in so doing I think I look quite often brusque, or maybe sometimes even slightly rude. In fact Dame Jean Conan Doyle, Doyle’s daughter, who’s a great personal friend of mine, did once say to me, ‘I don’t think my father meant You-Know-Who to be quite so rude’, and I said, ‘I’m terribly sorry, Dame Jean, I’m just trying to hide me’. She did say a lovely thing to me when I did the play, in 1988, which was really to celebrate You-Know-Who’s birthday – he’s a hundred, ha-ha . . . For a man who never existed it’s extraordinary to celebrate a birthday.
Liane Hansen laughs.
Jeremy Brett: And, umm, she did come to the play and she did write me a sweet letter in which she said, ‘You are the Holmes of my childhood’. And that, for me, is the ultimate accolade.
(An excerpt from The Creeping Man)
Liane Hansen: He is described as an emotionally cold character, but I think one of the hallmarks of your performance is that you bring a passion to the role. It’s not an overt passion, but it’s a passion that comes, for example, when you gloat or You-Know-Who gloats when he’s defeated an opponent or a temper that flares when people are not listening to you or don’t understand what it is that you’re saying. There’s this passion underneath this brusqueness and this rudeness which is what I think makes him real, which is why your portrayal has been so –
Jeremy Brett: Well, I – What I had to do, I mean, we’re talking about – I was talking about becoming. What I mean by that is an inner life. Watson describes You-Know-Who as a mind without a heart; that’s hard to play - hard to become. So what I did was to invent an inner life. I mean, I know what his nanny looked like, for example; she was covered in starch. She probably scrubbed him, but never kissed him. I don't think he probably saw his mother until he was about eight. Maybe caught a touch of the fragrance of her scent and the rustle of her dress. I guess collage days were fairly complicated because he was quite isolated. He probably saw a girl – across the quadrangle – and fell in love, but she never looked at him . . . so he closed that door. And he became a brilliant fencer, of course, as we know, and a master at boxing . . . brilliant athlete . . . and many more little ti-tiny little details which I have to kind of make up to fill this kind of well of . . . that Doyle so brilliantly left out, because he built this extraordinary edifice, and you – of you’re going to try – I mean you – Cour-course, it’s much better read, and that’s the truth; Doyle’s works are better read. If you’re going to be rash enough to try and bring him into life by the visual arts . . . he’s even better on a radio! I’d rather listen to him, than see him. Seeing is limiting, you know.
Liane Hansen: Y-you do develop a body language for him, though, I mean whenever he thinks he makes a pyramid with his fingers and he puts them up in front of his face and h-he has eccentric rather gestures of the hand.
Jeremy Brett: It’s all Doyle.
Liane Hansen: It’s all Doyle.
Jeremy Brett: All Doyle. You see, I couldn’t believe it; it’s all there. He says - there’s one moment which really threw me . . . it says, he says, ‘Holmes wriggles in his seat and roars with laughter’ . . . You see, I’d never even thought of Holmes laughing.
Liane Hansen: Hmm.
Jeremy Brett: So I had to go on an extraordinary journey of discovery and it’s all there! In Doyle. And what is so extraordinary to me is that no one’s done Doyle before, and I find that bewildering!
(An excerpt from The Creeping Man)
Liane Hansen: In the course of producing these series and acting in these series, was it difficult for you to change Watsons midstream?
Jeremy Brett: Well, it was devastating. My darling David Burke came to me and said, ‘I – please, I must go home, my son, Tom, is two and I must be with him growing up.’ And I said, ‘Of course! I absolutely understand.’ And, emm, so he went back to Anna, his sweet wife, and little Tom. And I stood and waved goodbye at the station in Manchester, which is where the studios are located in England, and thought, ‘Now what do I do? I’ve lost a Watson. My bestest friend.’ And, emm, I mean me, one of my best friends; David Burke. And, uh, it was Anna, his wife, who said, ‘There’s a man with a cast of mind rather like yours David.’ And Edward arrived, of course who I’d worked with at the National Theatre. He’s Sir Cedric Hardwicke’s son, by the bye.
Liane Hansen: But for you playing with, umm, Edward Hardwicke; did you have to develop a new relationship or did he just – was he able to then take on the cloak of Watson enough so that Sherlock –
Jeremy Brett: Well, Edward’s a very, very remarkable man. One – probably the nicest – one of the nicest people I’ve ever met in my life. And . . . he wanted to fit in. So he watched the previous thirteen films . . . Decided to try and look a little like David Burke, as much as he could, bless him. So he put on a rug, I mean a toupee, and, umm - and put lifts in his heels. And the first film we shot together was The Abbey Grange. And we were running across a field, (chuckles) and he (laughs as he continues) he, course he – these heels were too high so he was slipping and sliding. And I said, ‘Oh, Edward, take them out! I’ll bend my knees for the rest of the film!’
Liane Hansen laughs.
Jeremy Brett: So that’s how we adapted and healed it in.
Liane Hansen: Oh . . . You had a personal tragedy, between seasons; your wife died.
Jeremy Brett: Joanie.
Liane Hansen: Joanie. If I’m not mis-
Jeremy Brett: Yes, well, Joanie, umm . . . Well, the reason I did Aren’t We All? was to be with her. (stutters) I knew at the end of The Final Problem in ’84 that she had cancer, and the lights really went out in my life. And, umm . . . I didn’t want to do it anymore. I didn’t see any point, and . . . We were going to do all the treatment in England and then we decided to do it in Boston because sh-she works for W-W – worked for WGBH. You know she created Mystery!.
Liane Hansen: I didn’t know that!
Jeremy Brett: Yes! She created Classic Theatre. And, umm, anyway . . . I lost her on July the 4th 1985. And I went back to England when the play finished, it didn’t finish until the 23rd, I don’t know how I did those performances . . . and, umm, said goodbye to the children. And I was contracted to start again on September the 3rd of that year. And they said, ‘Well, Jeremy, it may help if you get back on the bike.’ Is that an expression you use? In other words, if you get back on the bike –
Liane Hansen: Back on the horse.
Jeremy Brett: Yeah, that’s right.
Liane Hansen: Same phrase.
Jeremy Brett: And, umm, I did the next five films with the most appalling ill grace I’m afraid. I mean, I just didn’t want to do them. And then I had a b-b – what is now known, umm, because the TV Guide published it over here – I had, emm, an almighty breakdown. And when I came through that, thanks entirely to my darling son, David, who was a valiant friend to me through that . . . umm, I got back on the bike again! (chuckles) And I - I remember saying, ‘If I can get to Manchester, I’ll be all right.’ And then I made The Sign of Four and I began to feel better and then I began to feel better with Holmes, and I wasn’t quite so cr- – I’ve said him – I wasn’t quite so cross with him. Umm, ‘cause I blamed him a little.
Liane Hansen: You blamed him?
Jeremy Brett: Well, he – I was working, you see, so far away from Joan, and it had taken up s-so much of our last w-what we – I discovered to be our last few years. And, emm, I begin – You know, time is the great healer. And, uh, and now . . . Actually, Caleb, my eldest, umm, my legacy from Joan, says that I’m looking much better than he’s seen me in years. I saw at – three weeks ago in California. So, slowly, slowly, slowly. You never get over a loss like that. You get used to it but you never get over it.
Liane Hansen: You’ve done thirty-four hours of Doyle stories?
Jeremy Brett: I’ve done thirty-four films. I can’t remember, there’s two . . . there’s three two-hour films, I’ve just finished, three weeks ago, a two-hour film, and two others; The Sign of Four and the Study in S– not the Study in Scarlet – Hound of the Baskervilles. And the rest are one-hour films.
Liane Hansen: Mm-hmm. How many stories are there left? I mean –
Jeremy Brett: Well, I’m going to complete the canon. Thanks to Peter Speiner(spelling?) and Granada Studios.
Liane Hansen: Completing the canon! And then, what? I mean, then you will be able to leave him behind.
Jeremy Brett: Well, I don’t mind, now, I mean . . . Uh, there was a time when people would say, ‘How do you enjoy playing Holmes?’ and I would say, ‘I wouldn’t cross the street to meet him’. I then discovered that, of course, I meant that he wouldn’t cross the street to meet me. Then when I was doing the play, which taught me a very great deal because I was in touch with people, ‘cause filming is quite isolated, and I realized how many children were seeing him and how - what a hero he was, to them. I thought, ‘Oh, my, didn’t know that’, so I thought, ‘My goodness, I have that joy’, umm, of doing it for children. And I think I know why the children love him and that’s because Sir Arthur Conan Doyle endowed Holmes with all the sensibilities of a child – up to the age of eight. Then, at the age of eight, of course you’re told not to look out of the window, umm, get on with your Latin syntax, and they begin to diminish those extra senses. Holmes has them.
Liane Hansen: Do you think you’ve learned anything about the powers of observation that he had that you need for your own art to become these, uh, characters that you play?
Jeremy Brett: No.
Liane Hansen: No.
Jeremy Brett: No. Somebody asked me the other day - do I dream about him. And, mercifully, no.
Liane Hansen: Don’t want to take your work home with you.
Jeremy Brett: No. Isn’t that a miracle? No. My dreams are – I still have my little dog in my dreams; Mr. Binks. My companion. I call him my hound of heaven, actually.
Liane Hansen: Aw.
Jeremy Brett: He died 16 years ago. So, anyone comes too close, like You-Know-Who – woof! Woof! (laughs) - No, he never comes in. Mercifully. And, heavens to Betsy, the day’s enough!
Liane Hansen: Jeremy Brett. The Casebook of Sherlock Holmes can be seen for the next five weeks on the PBS series, Mystery!.
(Piano music and credits)
Daytime Live, An Interview with Jeremy Brett and Edward Hardwicke
From The Casebook of Sherlock Holmes DVD:
An Interview with Jeremy Brett and Edward Hardwicke
Date: circa 1988/1989
Hostess: Well, there have been many fictional detectives; Hercule Poirot, Maigret, even Clouseau. But none seem to have captures people’s imagination like Sir Conan Doyle’s Sherlock Holmes and partner Dr. Watson. The latest theatrical partnership in these roles is Jeremy Brett and Edward Hardwicke, who have starred successfully on both television and now at the (Winedham?)’s Theatre in –
Jeremy Brett: Wyndham’s.
Hostess: Wyndham’s Theatre in London. Let’s see them now in action.
(shows the “grotesque” scene from Wisteria Lodge)
Hostess: Holmes and Watson; Jeremy Brett and Edward Hardwicke.
Jeremy Brett: Hello.
Hostess: They have enjoyed enormous success – all the stories have enjoyed enormous success. What do you put that down to?
Jeremy Brett: I think probably the miracle that Granada achieved was by doing the original stories. Umm, I think it was dreamt up by Michael Cox way back in 1973, our producer, really to put literature straight in regard to Dr. Watson. Because, not the duffer anymore, but the good friend, the gentleman, the medic and the soldier. Not the duffer. And I think by doing the stories and finding that they actually stood up to the test of film.
Hostess: But it really is an extraordinary relationship between these two men, isn’t it? They’re very close.
Jeremy Brett: Yes, they’re club men. I mean, I think one is a very private creature, isolated. They’re both very lonely people at the beginning of the books and they meet because they can’t afford the rent!
Hostess: Do you think it’s also this sort of Superman image that Sherlock Holmes has? I mean, he solves everything.
Jeremy Brett: I think – I think he intrigues Watson, by the speed of light of his deduction and logic. And I think that it becomes apparent, I think, especially during this play we’re doing now at Wyndham’s Theatre. (smiles at her)
Jeremy Brett: It’s (laughs) you were at school at a place called (Winedham?)’s.
Hostess: (Winedham?)’s, yes.
Jeremy Brett: Uh, Wyndham’s Theatre. It’s because I think we’re exposing the friendship, we’re releasing the friendship through a little bit more. Also, we’re very lucky, Edward and I, because we played the parts for two and a half years together. And, umm, I’m not bored of it at all yet because I haven’t learned how to play him.
Hostess: Yes, I was gonna say, I mean, five years you’ve done it on television and three years, Edward. Is there anything different for you, Edward, about doing it now in the theatre?
Edward Hardwicke: Well, it’s – I mean the main difference is it’s just a completely different medium. And you are concentrating for two hours on a play whereas with the filming it’s a day-long job and it goes on and on and on. It’s just a very different feeling. And I think it’s an enormously enjoyable experience just doing something different.
Hostess: Did you realize the success until you went into the theatre?
Jeremy Brett: No, not – I must be truthful, I didn’t. I have been working in some sort of isolation in the studio work, filming for five years and when we went into the public marketplace, which is what the theatre is, suddenly to find that there were children out front . . . I wasn’t sure what the audience was, I know we sold to seventy-five countries and were translated into every kind of language under the sun. And I’m thrilled . . . I mean I still can’t believe that. But I am beginning to be aware of the fact that, because of the children, that it appeals to a much wider range of people than I thought. Five-year-olds, six-year-olds, seven-year-olds, are sitting there, glued to the play, and they come around afterwards. And I – I’ve always thought Holmes was a sort of, umm, damaged penguin or kind of black beetle.
(Edward Hardwicke and the Hostess start laughing)
Jeremy Brett: I never thought he was heroic at all! I wouldn’t cross the road to meet him.
Hostess: But there’s also this amazing thing, don’t you think, that Agatha Christie wrote about Hercule Poirot, umm, but nobody ever thought that Hercule Poirot was real. But they do believe in Holmes and Watson, don’t they? I mean, do you get letters to you as real people?
Edward Hardwicke: Well, not exactly as real people, but I certainly think they – the characters – are very real to a lot of people. And I think it’s partially because Conan Doyle, rather like – it’s a different kettle of fish, in a way – but, Ian Fleming did it with James Bond. His detail, and the precise detail, of actual places and things which are mentioned in the stories, somehow make – give it a terrific sense of reality, a terrific sense of Victorian and Edwardian London.
Jeremy Brett: I remember when Al– when Sir Alistair Cook(e?) said to me, many years ago, about 1981, before we started, he said that the three most memorable people in the last hundred years are Churchill, Hitler and Sherlock Holmes.
(Edward Hardwicke laughs)
Jeremy Brett: Now this was meant to encourage me – I was terrified! “Well, that’s really done it now.” I mean, I didn’t want to play the part in the first place because I thought I would fail! ‘Cause there had been so many people playing it before. But to think that one of those three people never existed at all is extraordinary! We, I mean, the fan-mail we get is to Edward and Jeremy but we get – they get at Baker Street, 221b Baker Street, the National Abbey Bank, letters to Sherlock Holmes asking him to solve cases. And they write back and say, “Mr. Holmes is retired and living in Kent beekeeping.”
Hostess: (laughs) Are you enjoying being caught up in this? I mean, as I said, five years on television and now starring in West End?
Jeremy Brett: I have to confess; I’m basking in it now. I must – I didn’t enjoy it, I was very poorly for a while and I found it was an enormous strain to play. He’s a very dark, private man, and you have to really drain yourself out, because I’m much too ebullient for the part. You have to be very bloodless, and I found that a great strain. But now we’re in the theatre with this wonderful pink success, as I call it, umm, amazing response. And we’re taking it around the world, we’re playing till next September in - at Wyndham’s, and then we’re taking it very slowly around the world. I think we’re bringing it to Birmingham, I’m hoping. And, emm, and then I think Manchester and then the States. So it’s a lovely – yes, good time now.
Hostess: But anybody going to see it is not to expect a real whodunit.
Jeremy Brett: It’s all the deduction, it’s all the clues, but the case happens as the play ends. What you get is their relationship and you learn, during the course of the play, much more about them. There’s a lot of deduction, a lot of sleuthing, and then in the second half Jeremy Paul, our brilliant writer, has given us a coup d'état which is the secret. And it’s a part of Holmes’ life which has not been revealed. And it’s a very exciting, dramatic moment and I’m very happy that Ted’s on stage with me to get me (off every night?).
Hostess: Edward, your Dr. Watson in this is far more of a rounded, whole creature. Jeremy mentioned before that he’s very often played as a bit of a buffoon, a bit of a bumbler.
Edward Hardwicke: Yes, I think that dates from the early films which I love and I think they had a validity then because it was the war and I think there was an attempt to use the stories in some way as propaganda to encourage the Americans to join us in the second World War, in a minor way. But, umm, we – times have changed and I think one has to start from the premise that he’s a doctor and that’s a difficult job for anybody. Also, I think being a doctor, to some extent, is being a detective and I think that’s part of the appeal that he has for Holmes. Umm, but . . . doing the play is very different because Jeremy Paul’s taken a slightly different direction with it and that makes it very, very interesting.
Hostess: Do you see yourself becoming another Mousetrap? An establishment in the West End of London.
Jeremy Brett: No, I tell you what . . . you know, this business we’re in, this profession we’re in, it’s hard enough to survive, let alone have a success. So when one has a success - although it’s not a very palatable word in this country, they’re much more fond of it in the States – I’m enjoying every giddy moment of it!
Jeremy Brett: I’m loving having people outside the stage door, I’m loving being with my friend Edward; because we’re best friends off as well as on. We’re having a ball.
Hostess: Great. We look forward to seeing it in Birmingham.
Edward Hardwicke: Thank you.
Hostess: Edward Hardwicke, Jeremy Brett, thank you for joining us.
Jeremy Brett: Thank you.
Edward Hardwicke: Thank you.
(applause, fade to black)
Note: I’ve bolded anything I wasn’t sure about in the transcriptions, please correct me. I also made them as exact as possible, so any stuttering seems more obvious than it actually sounded.
What I’ve shared in the Jeremy Brett community: