Michael Gambon

Speaker 40:00

Hello, I'm Kirsty Young, and this is a podcast from the Desert Island Discs archive. For rights reasons, we've had to shorten the music.

Speaker 40:08

The programme was originally broadcast in nineteen eighty eight, and the presenter was Sue Lawley.

Presenter0:28

My Castaway this week is an actor of enormous range. He first came to public attention playing the role of confused suburban man in Alan Aykebourne's comedies.

Presenter0:39

Then he took on such great roles as Lear and Galileo.

Presenter0:43

More recently he became a household name in Dennis Potter's The Singing Detective on B B C television, in which he played a crime writer suffering from a deforming illness.

Presenter0:54

Well, in all of this success he remains a very private man. Recently he was voted Best Actor for his performance in Arthur Miller's A View from the Bridge, but he didn't turn up to take his prize. Michael Gambon doesn't believe in stardom.

Presenter1:10

Michael, you really do dislike fame, don't you?

Michael Gambon1:13

Well, I don't know. I do like it, but I would like to to remain anonymous as an actor. I know that sounds ridiculous, really, but um

Michael Gambon1:19

I'd like just to be a blank page that no one knows anything about. Maybe it's impossible.

Presenter1:24

And then every time you walk onto the stage, the blank page becomes significant.

Michael Gambon1:28

Character, yes.

Presenter1:30

And a great success in in that.

Michael Gambon1:32

I hope yes, I yes, I think so. I mean, I wouldn't like to walk on the stage and and people would say, Oh, there's the man who collects toy trains or something.

Michael Gambon1:39

Because either I don't play toy trains, but it just uh distorts people's

Presenter1:44

But you're asking in the end for the impossible, aren't you? Because well, you want

Michael Gambon1:46

Because

Presenter1:48

Recognition as a distinguished actor.

Michael Gambon1:50

Yeah.

Presenter1:51

And therefore you have to accept what goes with that, which is that people want to know about you and what makes you tick.

Michael Gambon1:55

And what

Michael Gambon1:56

But I've managed to keep away from it at Upson Oh, so I'll keep trying.

Presenter2:00

But now you're arriving on this desert island, so you can't remain entirely private.

Michael Gambon2:04

Yeah.

Presenter2:05

Uh presumably there must be an element of the show off in you.

Michael Gambon2:08

Oh, there is, yes. I think that's what acting is, really, showing off, isn't it? Well, in in the beginning when you start acting it's uh standing up uh and showing off, and it then develops, gets more sophisticated as the older you get. But it is showing off.

Presenter2:20

But there'll be nobody on the island to show off to.

Michael Gambon2:23

Well, I I won't be on uh long, you know,'cause I don't like being alone, so I would try to get off.

Presenter2:29

You will of course have the complete works of Shakespeare, so I mean you could declaim to your heart's content.

Michael Gambon2:33

Yes, I'll I'll try and get it right and I could do a bit of that. Do a bit of Lear, get the bits right that I did wrong at Stratford, so

Michael Gambon2:41

Uh that would be useful.

Presenter2:42

How have you chosen these eight records to take with you?

Michael Gambon2:44

Yeah.

Michael Gambon2:45

There are eight thousand records I could take and I've just used a pin really. And they're they're just records that remind me of events and places and people and that sort of

Presenter2:54

Okay. So where does the pin land first?

Michael Gambon2:56

Oh, it lands with little Richard, Tooti frutti.

Presenter2:59

Why babbling my Bang, bang, bang.

Speaker 13:01

I'm tootypoo, oh rude, tooty boot, oh roof.

Speaker 13:08

Oh Rudy, to the food, oh Rudy.

Speaker 13:12

Yeah. Yeah.

Michael Gambon3:15

Oh my baby ma blah bum bomb I got it.

Presenter3:17

Yeah, nice.

Presenter3:20

To know just what to do.

Presenter3:22

I got a girl name

Presenter3:25

The nose that's what

Presenter3:27

Tooty Fruti by Little Richard. Now why did you choose that?

Michael Gambon3:30

Well, I was a teddy boy in the fifties when I was uh eighteen. I was an apprentice in an engineering factory and uh was a quite a

Michael Gambon3:39

well known Ted in the area, and uh that record would remind me of that period.

Presenter3:44

With the big crepe sold shoes on.

Michael Gambon3:45

Yeah, and the drape jacket. That was before I discovered amateur dramatics and and went quickly into tweeds and flannels.

Presenter3:52

Huh.

Michael Gambon3:52

But that was a terrific culture shock, you know.

Presenter3:55

But you had no professional training as an actor. I mean, are you seriously suggesting that even then you knew you wanted to act?

Michael Gambon4:01

Well, I must have done, yes. I joined an amateur theatre when I was seventeen, I think.

Michael Gambon4:06

I don't know why.

Michael Gambon4:08

I was just walking past it, I think.

Michael Gambon4:10

I went in and started painting the scenery in the evening.

Michael Gambon4:14

I then had my electric blue drape suit dyed black.

Michael Gambon4:18

I thought it would be more acceptable.

Michael Gambon4:20

And I was away.

Presenter4:22

But you were working as an engineer at the time.

Michael Gambon4:24

Yeah, as an apprentice in a big factory.

Michael Gambon4:27

where we made everything from uh machine guns to petrol pumps to aeroplanes.

Presenter4:32

Now in order to get your first job in the theatre you lied.

Michael Gambon4:36

Yes, yes. My first job was with um Michael McClearmore in Dublin.

Michael Gambon4:41

and I wrote to him and told him I'd just play the lead in a a play in the West End.

Michael Gambon4:46

He didn't question it.

Michael Gambon4:48

He d he couldn't care less, I don't suppose. That was my first job playing the Second Gentleman of Cyprus and Othello in Dublin.

Michael Gambon4:55

And um when I first went to Dublin to rehearse it, I flew from London to Dublin. But we were diverted, so I ended up in Cork at half past one in the morning.

Michael Gambon5:05

Supposed to be in Dublin to start rehearsals the following month.

Michael Gambon5:08

So I rang Michael McClearmore at home at that time in the morning. It was so green.

Michael Gambon5:13

That must have woken him up.

Michael Gambon5:15

So I arrived late the next day with a clip on bow tie.

Michael Gambon5:19

and the whole company burst out laughing.

Michael Gambon5:22

because he'd made an announcement saying that they weren't to worry.

Michael Gambon5:25

Because the second gentleman of Cyprus delayed he he said last night we should carry on without

Michael Gambon5:30

And I owe.

Michael Gambon5:33

This is hysteric.

Presenter5:34

Let's have your second record.

Michael Gambon5:36

A second record is

Michael Gambon5:38

Olivier Sir Lawrence.

Michael Gambon5:40

Doing a bit of othello, it is the cause.

Michael Gambon5:56

It is the cause, my soul.

Speaker 16:00

Let me not name it to you.

Speaker 16:04

You

Michael Gambon6:04

You chase a star.

Presenter6:11

Sir Laurence Olivier speaking lines from Othello, Act V, Scene Two.

Presenter6:17

It's pretty moving, so it's not a problem.

Michael Gambon6:17

Yeah, some stuff, isn't it?

Presenter6:19

I love it.

Presenter6:20

He, of course, was quite important in this um early career of yours.

Michael Gambon6:24

Yes, well, I was in the first National Theatre Company, under him, in'sixty three' when it first started carrying a spearhead.

Michael Gambon6:31

and I had auditioned for him.

Michael Gambon6:33

So he's always been terribly important to me, and I've stayed with him for uh three and a half years.

Presenter6:39

But of course you weren't getting any big parts there, were you? That's the trouble. You were still the second gentleman and the third spear.

Michael Gambon6:45

Yes. Well, I over the years there I built up the parts. I got quite good supporting parts towards the end, but in the end I um went to him and asked for better parts, and he said he couldn't give them to me, and I should go away into rep, which I did. I went to the Birmingham Rep.

Michael Gambon6:58

After the National.

Presenter6:59

And what happened there?

Michael Gambon7:00

And there I stayed for a year and ended up playing ocello.

Michael Gambon7:04

And I'd just been in his affair now.

Presenter7:07

So you were in Birmingham in the swinging sixties?

Michael Gambon7:09

Yes, sixty seven, I think.

Presenter7:12

Did they swing for you?

Michael Gambon7:13

No, I don't remember the swinging sixties. It was all they were just about hard work.

Michael Gambon7:18

Although I did go night clubbing a lot after the evening performances.

Presenter7:21

Shall we have your next record?

Michael Gambon7:22

Yeah, well that's uh that reminds me of Birmingham rep and and the sixties and um going clubbing and that's uh Breaking Down the Walls of Heartache by the bandwagon.

Presenter7:31

Uh

Speaker 17:31

Breaking down the walls of heart and maybe I'm a carpenter Noble affections Breaking down the walls of heart and maybe got to tear down all the loneliness until the building

Michael Gambon7:52

One morning later Chicago

Presenter8:00

Breaking Down the Walls of Heartache by the Band Waggon.

Presenter8:04

Michael Gambin, we've heard that you're um a bit of a fibber.

Michael Gambon8:07

Mm.

Presenter8:07

You're also a bit of a practical joker, aren't you?

Michael Gambon8:09

Well, no, I just I'm a great water pistol user.

Michael Gambon8:13

When I'm in the theatre, I've always believed in having a loaded water pistol in the wings with me, particularly if I've if I'm in a play with Stephen Moore.

Michael Gambon8:19

There was also a water pistol.

Michael Gambon8:21

User say well, it's best if we're not in players together.

Presenter8:26

You're going to have to tell us, have you? What do you do with your photograph?

Michael Gambon8:29

Yeah.

Michael Gambon8:31

Or we get each other in black arts, you know.

Michael Gambon8:34

Um

Presenter8:37

You're the sort of actor who makes another actor corpse on the stage, right?

Michael Gambon8:40

Yes, but I don't course.

Michael Gambon8:43

I'll keep a straight face, but I can get other people.

Presenter8:45

You're the bully.

Michael Gambon8:46

fully, uh it's not fair really, is it?

Presenter8:48

Do you mess about in rehearsals?

Michael Gambon8:50

Yes, I think you should.

Michael Gambon8:52

I think you should have fun in rehearsals because the doing it's going to be hard enough, and that's part of the process, I think.

Michael Gambon8:58

of exploring and getting to know the other actors and

Michael Gambon9:01

All that.

Presenter9:02

You mentioned your your Lear and and you said something about getting right the bits you got wrong,'cause there are people who say that when you played Lear you concentrated so hard on helping Anthony Scherr with the fool that in the end you were entirely upstaged by him.

Michael Gambon9:15

The end

Michael Gambon9:17

Well, I don't know, maybe. I mean, well, that rehearsal period was uh just glorious, I remember.

Michael Gambon9:23

Tony and I were inventive in rehearsals and we experimented and

Michael Gambon9:28

He became uh like a ventriloquist dummy during one in fact, during the performance we kept that in.

Michael Gambon9:35

Uh maybe it went too far that way, I don't know.

Michael Gambon9:38

But I'd like to play it again and have another game.

Presenter9:41

Nineteen sixty nine, you got your first big break in television. What was that?

Michael Gambon9:45

That was the Borderers series.

Michael Gambon9:48

Which was the first I think it was the first B B C Two cover adventure series, and that I got that through being spotted at Birmingham Rep.

Michael Gambon9:54

and I played the Juve lead, with the big blonde wig.

Michael Gambon9:58

and rode across the lowlands of Scotland on my horse for

Michael Gambon10:02

It was uh twenty six hour long episodes, like a dream job.

Michael Gambon10:06

And uh in between each

Michael Gambon10:08

Batch of thirteen, I went away and played Shakespeare in red.

Michael Gambon10:12

Coriolana, SmackBear, parts like that. So they were good years.

Presenter10:16

Wonderful combination.

Michael Gambon10:17

Yes, yeah.

Presenter10:19

Let's have your next record.

Michael Gambon10:20

Next record is um Peter Peirce singing Mrs Mind.

Michael Gambon10:24

accompanied by Julian Bream. I love Peter Piers, the purity of his sound.

Michael Gambon10:29

And I love uh guitar and lute, so this is a a good combination.

Speaker 110:34

Mistress mine, well may you fare, Kind be your thoughts and void of care. Sweet Saint Venus be your speed, That you may in love proceed. Call me and flip and kiss me do. So so so so true love should do. Call me and flip and kiss me too. So so so true love should do.

Speaker 110:57

In these woods are none but birds, They can speak but silent words They are pretty, harmless things, They will shade us with their wings.

Speaker 111:07

Call me and clip and kiss me too. So so susa so true love true Call me and clip and kiss me too So so true love true

Presenter11:21

Mistress Mine, set by Thomas Morley and performed by Peter Pears and Julian Bream on the lute.

Presenter11:28

Well, now, Michael Gambon, in nineteen seventy four you came together with a lot of other actors whom we now know very well Felicity Kendall, Penelope Keith, Tom Courtenay, in one of the great stage successes of the seventies, The Norman Conquests, by Alan Agborn.

Speaker 111:36

Yeah.

Presenter11:44

Again, it must have been very exhausting, but endlessly enjoyable.

Michael Gambon11:46

Yes, and it changed my life meeting Alan Aykbourne. And it it was all because of um Eric Thompson.

Michael Gambon11:52

is sadly not with us any more.

Michael Gambon11:54

who I'd met doing a television series, and he he was uh at that time just starting to direct plays, and he'd sent me these three big scripts, three new Akeborn plays.

Presenter12:03

Creator of the Magic Roundabout.

Michael Gambon12:05

Yes, yes, he was. We did them at Greenwich.

Michael Gambon12:08

And it was a big hit and transfer to the West End.

Michael Gambon12:12

And it was a good time.

Presenter12:14

And you all got on terribly well.

Michael Gambon12:15

Yes, we did, yes. Penny kept us in order.

Presenter12:18

Vanilla Biggie.

Michael Gambon12:18

Yeah.

Presenter12:19

Is she that strict?

Michael Gambon12:20

No, he's not really. He pretends to be.

Presenter12:23

But Alan Ackbourne, as you've mentioned, has remained a great influence on your life. In fact, it was he who directed A View from the Bridge, which you've just had such a great success on.

Michael Gambon12:31

Yes, yes, yes. I ever I I mean my association goes back to the Norman conquests and uh I've just finished this um season with him at the national three plays.

Michael Gambon12:41

So he's always meant success to me. He allows the actor freedom.

Michael Gambon12:45

His rehearsal

Michael Gambon12:46

Periods are such fun and

Michael Gambon12:49

He's not at all dogmatic or

Michael Gambon12:51

I just love working with him.

Presenter12:54

Now, while you were doing a view from the bridge with him, you were also making a film. I mean, how do you manage that?

Michael Gambon12:59

Well, with difficulty. I I this film Paris by Night with uh Charlotte Rampling. I was doing that while at the Aldwych in View from the Bridge, and that's really tough, you know. One or the other tends to suffer in that situation.

Presenter13:12

Which suffered on the whole?

Michael Gambon13:14

Uh well I hope neither is he. You just have to get your head down and do the

Presenter13:18

So you film by day and and you are on the stage by night in two entirely different roles.

Michael Gambon13:20

Yeah.

Michael Gambon13:22

Yeah.

Michael Gambon13:24

Yes. The the film was easier, not such a demanding part, but uh Eddie Carbony is a real pill, you know.

Michael Gambon13:31

and exhausting.

Michael Gambon13:34

It was a difficult period.

Presenter13:36

Which leaves you no time for private life whatsoever.

Michael Gambon13:38

So none at all, no. Yeah.

Presenter13:40

Yeah.

Michael Gambon13:40

Yeah. No, it's just work, work, work.

Presenter13:42

Are you a zombie at home?

Michael Gambon13:44

Yeah, just sit and watch the telly.

Presenter13:46

What do you watch on the telly?

Michael Gambon13:47

Anything. You mean news and current affairs.

Presenter13:52

We shall have another record.

Michael Gambon13:54

Woman, John Lennon.

Speaker 113:58

Be close to your heart.

Speaker 114:02

However distant, don't keep us apart.

Speaker 114:09

After all the

Michael Gambon14:11

Uh Uh Man, But stop

Presenter14:26

WOMAN by John Lennon. Now why did you choose that?

Michael Gambon14:29

Oh, I just loved him, and it breaks my heart that he is no longer with us.

Michael Gambon14:33

I just love his, sir.

Michael Gambon14:35

Singing.

Michael Gambon14:36

And um

Michael Gambon14:38

I planted a tree for him.

Presenter14:40

What do you mean you planted a tree for him?

Michael Gambon14:42

Oh, the day he died.

Michael Gambon14:44

was killed.

Presenter14:46

What made you do that?

Michael Gambon14:47

Just the sense of loss. I'm the same age as John Lennon. Almost exactly, I think.

Michael Gambon14:52

and I always felt very close.

Michael Gambon14:55

Atham

Michael Gambon14:56

I just couldn't bear the thought of him.

Michael Gambon14:59

Okay.

Presenter14:59

And is the tree flourishing?

Michael Gambon15:02

I haven't seen it for a while, I think so.

Presenter15:04

Let's move on to or move back to nineteen eighty, which was your um huge success at the National as uh Galileo in Brecht, uh Galileo.

Michael Gambon15:12

Yeah.

Speaker 115:12

Yeah.

Michael Gambon15:14

Yeah.

Presenter15:15

How do you prepare for a major role like that? Do you live, breathe and eat it? Or do you think about it, analyze it?

Michael Gambon15:20

Think about it, analyze it. No, you just uh you put yourself in the hands of John Dexter.

Michael Gambon15:26

Who's a real boss?

Michael Gambon15:28

and that you hope for the best, and you learn the lines, and you study the part, and

Michael Gambon15:32

Just hope and pray that it works out all right.

Michael Gambon15:35

and bring everything you've got to it. I don't know I don't know how you do it.

Presenter15:39

When you say you don't know how you do it, is that because you don't have any um formal technical training? Are you in the end a natural actor?

Michael Gambon15:48

Uh yes, I suppose I am. I think I have now by now had training,'cause I've trained I've watched other people and worked a lot and I've trained myself. I work a lot with my voice.

Michael Gambon15:59

In rehearsals.

Michael Gambon16:00

And uh physically I try to get into parts. I I try to add a physical key into the character.

Presenter16:07

You have this great physical presence on the stage. It does strike one that you you think a lot about the movement of the character.

Michael Gambon16:12

Yes, I do. And and costume and how people walk.

Presenter16:16

Uh

Michael Gambon16:16

move. I try to find some sort of key in that way.

Presenter16:19

So do you do all of that and then open your mouth having learned the words and miraculously they they come out in Canada?

Michael Gambon16:26

Well, no, you just slave her a away, you know, for six weeks' rehearsal.

Michael Gambon16:30

and you try and make each day different.

Michael Gambon16:33

and you try not to bore people.

Michael Gambon16:36

And if you've done one bit

Michael Gambon16:38

howling your head off, then you do the next bit very quietly.

Michael Gambon16:42

And so they're all the cheap, simple rules of acting, and they all come together, I dunno how.

Presenter16:48

And then comes the first night. Do you love him or do you hate him?

Michael Gambon16:51

I look forward to it going on, to doing it, in front of the people. It's good. I I I wish I had to be not quite ready by the first night.

Michael Gambon16:59

And then it adds a little bit of extra nerves to the occasion.

Presenter17:03

Let's have another record.

Michael Gambon17:05

Oh well the next one is uh

Michael Gambon17:07

MEMORIS OF THE ALHAMBRA PALACE

Michael Gambon17:10

played by Narcisso Japes.

Presenter18:09

Memories of the Alambra by Francisco Tarraga, played by Narciso Yepes.

Presenter18:16

Well now Michael Gambon, in January 1986 you began work on the role which has probably brought you a a wider audience than any other role you've played because it was on BBC television. It was the singing detective, Dennis Potter's play. Now were you approached to play that part or did you audition for it? What happened?

Michael Gambon18:39

No, I didn't audition. I I've got away without auditioning for uh since I started.

Michael Gambon18:44

Uh, they sent me the scripts.

Michael Gambon18:46

Six massive scripts.

Michael Gambon18:48

And then I had lunch with the director John Emile.

Michael Gambon18:51

and told him I'd read them. Of course I hadn't, because there was far too much to read and I didn't understand them.

Michael Gambon18:56

And um

Michael Gambon18:57

The next day they offered them to me.

Presenter18:58

How did you know it was for you, then?

Michael Gambon19:00

Oh, you can it's such wonderful stuff, you know.

Michael Gambon19:03

I d I I flicked through them. I read all the important bits.

Presenter19:07

Now you played the part of uh this crime writer stricken with this this terrible illness, a kind of combination of arthritis and uh psoriasis, which of course is the illness that the writer himself, Dennis Potter, suffers from. Did you have a relationship with him? Did you talk to him about it?

Michael Gambon19:20

Yeah.

Michael Gambon19:24

No, I went through that. When um when we had our first read through, we went we read through the whole six hours of television in one day, you know, sat in the church hall and did it.

Michael Gambon19:34

Terrible, frightening experience, and Dennis sat opposite me.

Michael Gambon19:38

And uh I just watched his hands'cause they're buckled up.

Michael Gambon19:42

I watch how he moves and, um, how he holds cups and how he smokes his cigarette, most important.

Michael Gambon19:48

Uh, that's all. I no, I never really spoke too much about the park.

Presenter19:51

Did he not turn up to rehearsal?

Michael Gambon19:53

Only when Johan Wally was on the set.

Michael Gambon19:55

And uh

Presenter19:57

What do you mean by that, Smith?

Michael Gambon20:00

Well, he ti he didn't turn up a great deal, but he was always uh very much in evidence when the uh dancing girls were around.

Presenter20:06

Now Jo Ann Wally you mention, I mean

Presenter20:09

It was quite nice for you too,'cause you got massaged in Greece after

Michael Gambon20:12

Yes, very, very nice. I enjoyed that very much.

Michael Gambon20:15

In fact, I when we rehearsed that I uh

Michael Gambon20:17

I didn't have the make up on during rehearsals, but what I did do was spray um I sprayed suspender belt and stockings on my legs for the leg greasing scene, which of course some fun.

Presenter20:27

What did she do? She corpsed people.

Michael Gambon20:28

Yeah.

Presenter20:31

So you did this this television drama, which, as you say, was hugely long and very complicated.

Michael Gambon20:36

Then

Michael Gambon20:37

Seven months.

Presenter20:38

But unlike the theatre, I mean, you don't just go on in television and do it. It's all shot in fits and starts and out of order. And uh do you find that difficult? It's not like walking onto a stage, is it? And for an evening and going on and living through that character.

Speaker 120:46

Yeah.

Michael Gambon20:51

No, it's not.

Michael Gambon20:53

And give

Michael Gambon20:54

That cat

Michael Gambon20:55

It's a minute of intense work, that's all, into a camera.

Presenter20:59

So it's an entirely different technique.

Michael Gambon21:00

Oh yes, I think so. But it's still acting. It's just um

Michael Gambon21:04

You don't have to speak so loud.

Michael Gambon21:07

The singing detector I'll never get a part like that again on television notice but it's a part of a lifetime.

Michael Gambon21:12

But I d I do like the combination of um

Michael Gambon21:15

be a a flicking between the theatre and television and I've done that.

Michael Gambon21:18

Uh for the past ten years I've gone to the National, then done a series and then gone back.

Michael Gambon21:23

Yeah, I'm very lucky in that respect.

Presenter21:26

Can we have your seventh record?

Michael Gambon21:28

My seventh record.

Michael Gambon21:29

Every Day A Little Death Stephen Sondyne Little Night Music

Presenter21:33

Why do you want that?

Michael Gambon21:34

Oh, it's such an intelligent love song

Michael Gambon21:37

That's what I like about Santa.

Presenter21:39

Are you a very romantic person?

Michael Gambon21:40

Quite, yeah.

Michael Gambon21:42

I'm not going to tell you how mad.

Michael Gambon21:43

But it's sung by Maria E.

Presenter21:45

Alright, we'll hear the music then.

Presenter21:48

Every day a little death

Presenter21:52

In the parlour in the bed

Presenter21:56

In the curtains, in the silver, in the buttons, in the bread.

Presenter22:02

Yeah.

Michael Gambon22:02

Every day little sting.

Michael Gambon22:06

In the heart and in the head.

Presenter22:09

Every movement, every breath, and you hardly feel a thing, brings a perfect little death. Every Day A Little Death from Stephen Sondheim's A Little Night Music, featuring Maria Aitken and Veronica Page.

Presenter22:26

What is next, then, in the repertoire of Michael Gambon?

Michael Gambon22:30

Well, I'm rehearsing now, Uncle Vanya.

Michael Gambon22:33

Directed by Michael Blakemore, and we open in the West End next month.

Michael Gambon22:37

Uh with Jonathan Price and Melda Staunton.

Presenter22:40

Is it a part you've always wanted to play?

Michael Gambon22:40

Is it the card?

Michael Gambon22:41

Uh yes, it is, yes. People have often said I should play Uncle Vanya, and now it's happened, so I'm delighted.

Presenter22:47

And and what do you nurse in your breast as a kind of uh ultimate goal of the character you want to play?

Michael Gambon22:54

I'd like to play Othello again.

Michael Gambon22:56

I've been in it, so it stuck with me for years.

Michael Gambon22:59

I was in

Michael Gambon23:01

a Michael McClearmore version, in Dublin, as I said years ago.

Michael Gambon23:05

I was an Olivier.

Michael Gambon23:06

I was in Schofield.

Michael Gambon23:08

I played a fellow at Birmingham.

Michael Gambon23:11

I don't like to do it again, I must be mad.

Presenter23:14

It says in Who's Who in the Theatre under M Gambon Recreations colon.

Michael Gambon23:19

Oh yes, all eyes.

Presenter23:20

Open quote Flying guitar and collecting heavy industrial plant close quit.

Presenter23:27

What does that mean?

Michael Gambon23:28

I used to fly more than I do now. I I I play the guitar.

Michael Gambon23:33

Or I try to.

Michael Gambon23:34

Uh I'd like to uh maybe uh take one to the desert island and get better. And I love machinery.

Presenter23:40

And you collect things.

Michael Gambon23:41

Mm. Yes, tucked down in South London I collect heavy machinery, plant, equipment.

Presenter23:48

Fuck.

Presenter23:50

Where do you keep it?

Michael Gambon23:51

Oh, it's all locked away.

Michael Gambon23:53

I just uh I I I I quite like uh high precision machinery and I like Swiss lathes and universal mining machines and things like that. Things that people know nothing about now.

Presenter24:03

But what do you do with them? I mean, do you just sort of look at them?

Michael Gambon24:05

Yes, just look at them. Get them a stroke'em. Get them working.

Michael Gambon24:09

They're quite easy to buy nowadays.

Michael Gambon24:11

You know, British industry is collapsing.

Michael Gambon24:14

So there's lots of this plant on the market.

Presenter24:17

I have this I have this image.

Michael Gambon24:18

It's confusing, isn't it?

Presenter24:20

I I this is a very confusing image. I have this image of this man who's desperately dedicated to his profession and is is absolutely marvellous at it.

Michael Gambon24:23

Mm-hmm.

Michael Gambon24:27

Absolutely.

Presenter24:29

who who goes home and kind of builds a brick wall around himself.

Presenter24:34

To to cut himself off from it.

Michael Gambon24:36

Yeah.

Presenter24:36

The acting.

Michael Gambon24:37

Yes, I do. I do have another life completely. I think it's quite important for me to do that.

Michael Gambon24:43

I get uh rather fed up with um

Michael Gambon24:47

being in the theatre all the time and being with theater people.

Michael Gambon24:50

So I have a life outside to do with engineers and

Michael Gambon24:53

collectors and

Presenter24:55

entirely non-darling people.

Michael Gambon24:58

Yes, non-darlings, yes.

Michael Gambon25:01

But I I so I have a change of personality too.

Michael Gambon25:03

So I become less theatrical.

Presenter25:05

But it's that bit of you that you don't like talking about.

Michael Gambon25:09

I suppose it's here, yes.

Presenter25:10

You better have your eighth record, but

Michael Gambon25:12

Eighth record is uh well Beethoven seven.

Presenter26:07

Beethoven's Symphony No. seven, part of the slow movement played by the Vienna Philharmonic Orchestra conducted by Carl Birm.

Presenter26:16

What's special about that for you, Michael?

Michael Gambon26:18

Oh, it just it reminds me of uh being in the theatre, you know, being on stage. I like to have that music, um

Michael Gambon26:24

Playing on a walk

Michael Gambon26:25

Headset underneath the wig.

Michael Gambon26:27

It'd be nice to go on with that in your head, you know, but you never can. You stand there on the wings with think of music.

Michael Gambon26:34

But it as soon as you walk on it goes,'Cause you've got to speak.

Michael Gambon26:37

But uh that that's how I feel sometimes.

Presenter26:39

Reading what friends and colleagues say about you, and and and they don't seem to know too much about you either, they say that um you're you're warm and you're compassionate and you're humorous, but I I read also that they think one of them thought you had a terrible temper.

Michael Gambon26:58

He has a shocking temper, really, I think, uh, but uh I ju I've never let go, so it's quite safe.

Presenter27:04

How do you know it's there, then?

Michael Gambon27:06

I just feel it.

Presenter27:10

All right, let's hear what this luxury is, then. What what is it that I am not going to allow?

Michael Gambon27:15

If I was to build a raft or

Michael Gambon27:17

or get off this horrible island.

Michael Gambon27:19

I'd need for tools. I mean, I heard David Penhalligan once on this programme ask for high carbon tool steel.

Michael Gambon27:27

In bar and strip form.

Michael Gambon27:29

and he was allowed to take it so I should be allowed as well.

Presenter27:32

Yes, but I think um the keeper of the island was different then. I mean

Michael Gambon27:36

Yeah.

Presenter27:36

You're not supposed to have anything that's practical.

Michael Gambon27:39

Oh

Michael Gambon27:40

Well well hell dear. What about my could I take my car?

Michael Gambon27:44

If I propose not to sleep in it.

Presenter27:48

Just to stare at it.

Michael Gambon27:48

Tension.

Presenter27:49

As long as it didn't move and couldn't go and you were just going to look at it, you can have it. Is that it? Yes.

Michael Gambon27:54

Can I? Yes. Oh, good. Oh, thanks.

Presenter27:56

Right.

Michael Gambon27:57

Yeah.

Presenter27:57

And which of of the eight records are you going to uh hang on to if seven of them get washed away?

Michael Gambon28:02

This

Michael Gambon28:04

Well, it's a toss up between Little Richard and Beethoven, I think.

Michael Gambon28:08

And it'll have to be Beethoven.

Presenter28:11

No, no, you got that wrong, and it'll have to be little rigid.

Presenter28:16

And and your book. As we said, you've got the Shakespeare, you've got the Bible.

Michael Gambon28:21

Yeah.

Michael Gambon28:22

Well, I thought of some really heavy, you know, book that I'd never be able to read, like a a book on mathematics, you know, philosophy, that I couldn't understand, that I'd struggle through. But I'm not going to have that.

Michael Gambon28:33

So I'll have the Republican Party Reptile by P J O Raw.

Presenter28:38

Why, what is it?

Michael Gambon28:39

It just makes me laugh.

Michael Gambon28:41

American Humor

Michael Gambon28:44

And it's a paper bag, it's very sure.

Michael Gambon28:46

Yeah.

Presenter28:46

Michael Gambon, thank you very much indeed for letting us hear your desert island discs.

Michael Gambon28:50

Been a great pleasure.

Speaker 428:59

You've been listening to a podcast from the Desert Island Discs Archive. For more podcasts, please visit bbc.co.uk slash radio four.