tv Charlie Rose PBS February 23, 2012 12:00pm-12:59pm EST
>> rose: welcome to our program. tonight, a conversation with the great british actor gary oldman now starring and nominated for an oscar for his portrayal of george smiley in "tinker tailor soldier spy." >> i bring 33 years of experience just smiling. my life, my experience. amity only actor that could play it? no. so i bring... i hope... i bring an interesting... an interesting life to it. that's maybe what thomas was talking about. you see he says i can see some of that life that you've lived
captioning sponsored by rose communications from our studios in new york city, this is charlie rose. >> rose: gary oldman is here. he exploded on to the movie scene in the 1980s his w his portrayal of punk rocker sid vicious in requested sid and nancy" and playwright joe or on the in "prick up your ears." in recent years, he has appeared as sirs you black in the "harry
potter" films and christopher gordon in the "bat man" trilogy. in the new movie "tinker tailor soldier spy" he takes on the role of one of literature's greatest spies, george smiley. the film adaptation of john le car re's novel is the first since alec guinness' version in 1979. >> perhaps what you did and forgot to tell us about was to burn the british passports you obtained from mrs. poole and miss danny poole but kept your own to convince them you thought it was still safe. then you made travel bookings in the name of the poole family for the same reason. you doctored the swiss passported for danny and her mother and made other arrangements for them.
like staying in marseilles, perhaps. >> rose: and here's a trailer for "tinker tailor soldier spy." >> there is a mole right at the top of the british intelligence he's been there for years. >> for the 25 years we've been the only thing standing between moscow and the third world war. >> i'm retiring outside the family. >> i want a place to look into this now. >> i'll do my utmost. >> i know that it is one of these men. all i want if you is one name. tinker. tailor, soldier, spy. >> i need you to do something. i'm going to have to send you into the loy i don't know's den >> what the hell are you doing?
>> i have something for you. something big. >> she told me a sese secret. the mother of all secrets. she had information concerning a double agent. >> you have to assume they're watching you. >> things aren't always what they seem. >> it's about to get ugly. >> >> instead of looking for the weaknesses in one another... >> rose: i'm pleased to have gary oldman back at this table. welcome. >> thank you. nice to be here. >> rose: my pleasure to have you back, yes, sir. it's been a good year for you.
>> it has been an extraordinary... it's been an extraordinary couple of years. for this project falling from the sky as it did, i was sitting in my kitchen in los angeles and... i was out of work but i think actors refer to it as resting. i was resting between engagements. >> rose: (laughs) >> and the phone rang and they said "would you like to play george smiley in "tinker tailor soldier spy"? >> rose: and you said? >> i... well i was intrigued and i did it. i obviously knew the material, i knew the book, i had seen the original series in '72 with alec guinness. and it gave me pause for thought
it was enormous shoes to fill. he was, as you know, a knight of the realm. a much-beloved actor both in the theater and in the movies. and his portrayal of george smiley is considered by many to have been the definitive performance. it's quite something to take on. i think we all of us... peter strong, richard o'connor, the writers and thomas, the director i think we all approached it with the same... we have the same jeters because you're really putting yourself up if
you can't pull it off. >> rose: and there's something called the ghost of guinness, i guess. >> yeah. the... i mean, there are... obviously there are comparisons to be made and if you're a classical actor, let's say, and you are asked to play leo or hamlet or willie low man. blanch dubois, one of these sort of iconic figures of classical literature. you're going to remembered against all the great hamlets and lears that came before. but your canvas for something like "hamlet" is very, very wide. it offers up... it invites you
it invite miss interpretations. you can have a 19-year-old actor play hamlet, you can have a 35-year-old actor play hamlet. you can be mad, you can be sane. you can be angry. it lets you... >> rose: buck modern, you can be be historic. >> it's chinese, ja kobian, elizabethan, however you want to do it. with le carre, with smiley, you're... you can't fuss too much and mess with the molecules there's a d.n.a. at work here and i am, i think, inevitably going to arrive at the same destinations. not all of them, but the same destination that guinness arrived at. >> rose: what do you mean by destination? >> well, there are just... there are just certain character trait
that smiley has that you... that you can't mess with. just for the sake of making it modern and different. so that was a dragon i had to slay. >> rose: i thought that also in terms of reading about you that you had to understand that george smiley is a classic character in the same way hamlet is a classic character and therefore in someone that is a classic character it lends itself to different interpretations because it will be performed by so many different actors. >> but there's a motor.
it's like a little wheel that's in smiley. it's his running condition. there's a melancholy. there's a... there's a disenchantment. he's a disillusioned romantic. there's a sort of heaviness and sadness to him that guinness may have brought because he was older than me also. he was 70, nearly 70 when he played the role. that they are just innate characteristics about smiley that that you have to follow the sign posts. and no matter how differently you're going to be led there. and i knew that going in.
not doing an impersonation. but you're following a man, you're following a great actor who has climbed the mountain and reached the peak and put his flag there and sort of looking down saying come in, then. you want to climb it? there are ghosts and dragons in your head as they inevitably are. they're in your head and i had to kind of... i had to walk through that fire and played a trick with myself exactly. i said this is a classic role and so... and that's how i convinced myself to say yes. >> rose: in the book, john le carre describes smiley as follows: small, pudgy, at best middle aged, he was by appearance one of london's meek who do not inherit the earth. his legs were short, his gait anything but agile, his dress
costly, ill-fitting and extremely wet. >> there you are right there. there's some of the... there's some of them right there. i am not all those things. but i think he can physically... the silhouette that's smiley i think can be many things. as you probably know, james mason played him, a version of him. i think anthony hopkins, den holm elliot. so there have been a few... there have been a few smileys. >> rose: this is what his wife said. she described him as a reptile that can regulate his body temperature. "george is like a swift" she once told her lover. "he cuts down his body temperature until it's the same as the environment."
>> i have been quoting that passage for three months because of this... you know, doing press for the movie and doing q&as and often the question i'm asked is how do you begin to get into george? how do you start to create george? and the passage i have quoted again and again and again is that one. >> rose: so what does that passage mean to you? >> that's the key to... that's the key to george. that's the whole physical key to george. that to me is... i've said this before. in my humble opinion, for me, acting is not intellectual, it's a sensation. it's a feeling and that gives
me... that tells me so much about that man. that is not a man who is... there's very little ego there. he's not frenetic. he's not busy. there's a wonderful sort of stillness to smiley and that is the... that was the key that unlocked the door for me. how fiting that you quote that. >> rose: is he also a man who, when played brilliantly by john hurt-- more about him later-- but that knew that he would get his man from the get-go?
>> i think there's no doubt. >> rose: i agree. >> there is no... the wonderful thing about smiley is there's no sort of self-aggrandizement. there's no ego. he operates with moral certainty old values. he's of the old... he's of that generation that they called the 3945ers who was there with... he sort of learned at the knee of control. he is always three or four moves hi head of you. he is master sort of manipulator of bureaucracy.
he's... he's just... he's like this table. he's... >> rose: he's oak and strong. >> he's oak and strong and reliable and... >> rose: but you added something else to him and i think le carre has said this somewhere. that you gave him more of an element of... more steel and more even cruelty than smiley did... than alec guinness did. >> yeah, there's an iron to george. there's a bit of a sadist. >> rose: a sadist? >> he's complex because there's. it's like that afterburners. he knows when the to shift and
this sort of... when i met le carre, i was looking far voice for him and i found in the john. >> rose: you found the voice in john le carre. >> but he sort of sits as i do in the film. he sits sort of slightly back. slightly off the right angle. and people open up and that's one of the... that's a great skill. that's the great skill of smiley. he can get people to... he can get people to talk. and when he needs to, that side of him that's a little crueler he does what i used to call the tickle. he just tickles people. it's like if you're with someone who's passive aggressive.
they put you on the back foot. they discombobulate you. because you can't put your finger on it. you think "i think i've just been insulted but i'm not sure." and that's the sort of great ability that smiley has. and then there's equally the mass kis because stays... >> rose: in a marriage. >> that a psychiatrist in 2012 would have a field day with smiley if he had him on his couch. and he would say why do you feel that you don't deserve... that you get scraps from the table from this woman. >> rose: what would he say? >> oh... (laughs) what would he say? (laughs) well, as he says in the movie when he says to hayden, he says
as well as being a sort of wonderful student of espionage... >> rose: we're coming near the end? >> yes. >> rose: let me set this up. this is what's intriguing about this. it makes this a great story. this is a story of british intelligence and a man knowing there's a mole and it's based on a true story and knowing there's a mole and he, george smiley, sets up to find out who the mole is and he knows it is because control is giving him some leads one of four people and tinker tailor soldier spy is a part of the riddle and there is part of the intrigue a fact that there's a man named carlo who's a russian who he once had an encounter with briefly. there's all kinds of interesting things here and how carloened him as his nemesis and at the same time may have known he was getting something from him because somebody under his own control was having a relationship with his wife. he therefore has questions, bill
hay don, the man who is having the relationship with his wife. he has to have an answer. >> yes. it's a wonderful creation and it's such a beautiful device because in fact smiley is really being cuckolded by a man who is thousands of miles away. >> rose: exactly! >> and... >> rose: his ultimate nemesis. >> yes, whom he has great respect for and who in some way i think feels responsible for, that he created him. because they was one that he couldn't turn. >> rose: when they had the confrontation in india he could not get him to turn because he at that time his nemesis, carlo, was going back to russia assuming in the soviet union...
soviet union, assuming he'd be shot. >> that he'd be shot. and he wasn't shot. >> rose: and he claim climbed his way back to the top? and always had the... always knew, always had his eye on that mr. smiley. >> there's also this, the glasses. you look for something, and the voice. you got that voice from le carre didn't you? >> the more you work on it the more you own it and the further it gets away from an impersonation but he is... i thought what better place to start than with... >> rose: and you tried on how many pair? 200? >> something like that. >> rose: what were you looking for? the kind of glasses he would wear? >> yes. and also i imagined smiley as a
wise old owl that had these big eyes hoke see everything and he hears everything. the great thing is he doesn't have to rush. he doesn't have to rush to anything. if you imagine smiley as a spider in a web, he's here, the food arrives he feel it is twitch on the thread but he thinks "i'll get it later." >> rose: (laughs) >> he's that confident. so i wanted to physicalize that idea. there's a moment at the beginning of the film where my daughter... where smiley is actually at home watching television and the door knocks and it's his... it's like his watson, in a way.
and they're off to take me to the minister and i'm about to find out there's a mole. and my head moves. there's a delay and my head moves to the door but my body doesn't move and it's rather like a... it's sort of rather like an owl. sort of seeing everything from his perch. and i was looking... i wasn't absolutely sure what i was looking for, but i did know what i wasn't looking for. so i tried on these glasses and landed on those... the ones in the film and i found them in pass deena. >> rose: that's whey heard. in pass deena. we have set up perfectly this scene because we talk about the encounter with the russian agent carlo, his ultimate nemesis. here is a clip from "tinker tailor soldier spy" at that moment.
>> i give him the usual pitch, come to the west and we can give you a comfortable life-- after questioning. >> what did he say? >> think of your wife. you have a wife, don't you? i brought you some cigarettes, by the way. use my lighter. we can arrange for her to join you. we have a lot of stock to trade. if you go back, she'll be ostracized. think of her. think about... well, enough
about your damn wife. i should have walked out, of course. but for some reason it seemed important he say this one, so i go on. we're not so very different, you and i. we both spend our lives looking for the weaknesses in one another's systems. don't you think there's time to realize there's as little worth on your side as there is on mine? >> rose: so just in terms of craft, tell me about that scene and you. because that was almost a... that was a monologue. >> it's almost like a play. it's very audacious of them to
put something like them 14 minutes into a movie. >> rose: but it's gripping. how did you approach? >> it was... well, it was... it was an idea that thomas the director had. he... it presented two problems. to him. it's a flashback in the book. and you see the scene and we are there in delhi. he did not want to use another flashback at that point in you do, you get into that thing of trying to make me look younger. so you use makeup or c.g. and it brings you out of the movie. he felt it would take you... there's gary oldman looking 20 years or younger. look what they've done to his hair. he just didn't want anything...
a distraction. so he came up with the idea that if smiley was drunk enough and had a few whiskeys would he open up in a way and... almost like a confession. and it was very much a set piece. it was the first thing that i got kind of under my belt. that scene. there's a... >> rose: and by doing that you knew you had it? >> yeah, because i didn't learn how... it's this old thing of know it so well you can forget about it and i didn't have to search for it. i didn't... i wasn't reaching for it. it was... it was me n me. there's an old line from lawrence olivier who said "it's not how well you know something it's how long you've known it." >> rose: that's very true. >> so that was the first piece that i got down.
and i knew it backwards so i could then... i could then focus on what i was saying and not... and not saying it. and we did the most takes we ever did on this movie, most of the... what you're watching in "tinker tailor soldier spy" is two takes, three if you're lucky. and we had to move quickly with it. and that was a whole day that was set aside for that scene. so i think that's nine different angles. and we needed to... we needed to get it... give it the weight that it needed. and it's beautiful in many ways because it's a lovely scene. he's really saying... also in an indirect way he's saying... he's sort of confessing, realizing
even as he's speaking that he created this. he created this monster. it's his achilles heel. it's the ghost that haunts him. and he's saying to peter guillem who has potential, has real potential cut all ties. don't be involved. don't be emotionally involved because look what happened to me. i ended up talking about my wife i couldn't get this guy to talk. so it's a... it's beautifully crafted and there's a line at the end that i was fighting for because there was an original cut that was a little shorter and that they were fearful. you've got an eight-minute monologue 14 minutes into a spy
thriller. someone sitting drunk in a chair talking. and they thought it's going to become like play house theater or something and they were trimming it. and there was a line that thomas cut and when i saw the first cut i was furious. at the end of the speech he says that the next day he handed the pack of cigarettes to me untouched-- and this was a chain smoker-- and he got on his plane to what he thought was certain death. and that chain smoking line was trimmed. and i said but thomas, look what it says about the character of carlo.
smiley finds his favorite brand of cigarettes, goes in there, goes in there armed with his wits and a carton, gives carlo the cigarettes and the next morning he gives him the cigarettes back and they're not opened what does that say about him? >> rose: because this is a man who has his last supper before he's going to be executed and he didn't take it. >> and he didn't take it. but hi took the lighter. (laughs) >> rose: because he knew that... >> i'll remember this guy, yeah. he knows. he gets me. he's silent and he gets me. >> rose: what's interesting about that... >> it's the reverse psychology. >> rose: exactly. but what's interesting about that, too, is that smiley didn't... he took the lighter, maybe he wasn't thinking that i'm facing sure execution. maybe he had enough confidence in his wits that he could get past it.
so therefore he takes the lighter because he wants to use it somehow for revenge and to taunt smiley. >> yes, he taunts him. and it's a wonderful... i think it's a great thing that tom, the director, came up with where we don't see... the two two people that are... haunt smiley the most it's his wife and carlo and those are the two people we don't see in the movie. >> rose: he has contempt for haydon or something else? >> i think by the end. it is incomprehensible to him that haydon would betray his country. betray his friends. there's... it's not just the circus, the.
manyi.: 5, m.i.: 6 that's at stake, it's the west. it's... you know, and for it to come from where these... you got these philbys and burgess and mcchains and where it was in a way so insidious was that these people, they lived off the land kind of thing. it was... they enjoyed all the privileges of their class. >> rose: and what is different, too, is that they were believers. >> they were believers. >> rose: we've had examples of spies who were moles from the f.b.i. and the c.i.a. and it seemed mercenary. it was not ideological. this was a time in which they believed that the soviet union offered something that the west didn't. that the west was more corrupt than the soviet union. right? >> yes. >> rose: certainly with philby. >> yes. and this is the first time where you're dealing with... you're
dealing now with... hot war is one thing and even carney in the movie played wonderful by kathy burke. >> absolutely. she says "now it's half angels versus devils." because now we're in a cold war. and you're dealing with a different kind of philosophy. suddenly smiley is dealing with god versus marx with these people who have... and so it's... it is absolutely reprehensible that he... that haydon would do this and it's ironic, i think, also in, of course, again, le carre, the beauty of the writing, is there is haydon crying these empty tears and smiley all that that
he's been through that old "hamlet" line if he had the passion i had he would drown the stage in tears and there's smiley who can keep his composure and then be... and then be the ultimate gentleman because he loves ann, blindly loves ann, and turns to haydon at the end and says "is there anything in particular you want know pass on to ann? what a... what a character! you know, what great... great character. >> rose: oh, boy. this is another scene. i want to show you in action here in which smiley is uspicious of a new piece of intelligence. roll tape. >> where did you get this? >> i didn't. percy and his man walked in with it. >> style's appalling, from
beginning to end, it could be the real thing. >> well, if it's genuine, but its topicalty makes it suspect. >> smiley is suspicious, percy! >> where did it come from? what's the access? >> a new secret source of mine. >> but how could he have access? >> he has access to the most sensitive levels of policy making. we've named the operation witchcraft. >> will percy and his pals bypass smiley and gone straight to the minister? percy has been allowed to keep the identity of his new friend top secret. >> there's a story behind that scene. first of all, it's six degrees of "harry potter," which we've all been in. nearly all of us around the table apart from colin firth have been somehow connected with "harry potter." the line, the wonderful line
colin has there where he says style appalling and content dubious or whatever he said, it could be the real thing, was a line that le carre wrote down the phone and was handed to colin on a piece of paper and he looked at the line and before we did the take and then he sort of put it in his pocket because it was... it was... one thing... it's one thing on the page and another when you're around that table doing it there was no line for ha haydon and it was suspicious that he wasn't speaking. so we needed in see tu a line for colin. and they said, you know, get the bat phone. get on the line with le carre and he came up with that >> and the line was? >> i've misquoted but it sort of
went where he said "the style is appalling. it could just be the real thing." >> rose: is there anything about it that you would do differently. about your role? your preparation? >> always! >> rose: is that right? >> always. i may get another go at it, you see, because we're seriously talking about doing "smiley's people." >> rose: that's great! another le carre novel. >> the third book in the trilogy it's where he gets his man. so le carre's cooking something up and he's got an idea of how he would like to do it so i may... >> rose: so what? why is he even involved? the book is out there. >> he was... he's very much... he. >> rose: he's interested in his characters. he created his characters early
his life and i think particularly with this book he's been... particularly with this book... >> rose: "tinker tailor soldier spy" or smiley's people? >> "tinker tailor soldier spy." it was a bit of a struggle to... i had to charm him. i had to woo him. >> rose: he did not... he was not necessarily ready to see another version because he thought the definitive version had been done? >> yes. and i think that will he met with tim at working title and robin the producer and tom and was won over and was charmed and i thought... i thought did a very classy thing. he said to tom "please don't make the book. thebook exists." he said "if you make a terrible movie, your movie will be terrible and my book will always be good." spoken like... sounds like john le carre.
he said "take it and interpret it. reinterpret it and make it your own thing. but he was very much there as a resource. if you wanted to know what the top paper of the book color, the top paper of the secret document was, you know, you could call or ask him a character question. >> now were you at all wanting to talk to him about his life and all the... how he had spent his life and what he had done? and what experience he is drew on when he created these characters? >> i didn't get to... i met him once. i mean, everything i feel that i needed to know about smiley was there but in those pages. >> rose: in the book. >> in the book and i asked him a little bit about the... the younger smiley and his own time. >> rose: here's a conversation with me in 1993--20 years,
almost-- talking about george smiley. john le carre on this program at this table. smiley is you? >> i'm still very shy. that's the truth. it's not a false shyness. i'm awkward. i never feel i buy the right clothes. i... i find life embarrassing in many ways and smiley does, too. i think i'm better at work than at living which is smiley's situation. >> rose: well said. >> and i... i think seeing a lot is very painful and that was smiley's misfortune. >> rose: in his own eyes and in world. >> and in the world he did. >> rose: his wife's infidelity and all of that. >> that's right. but also in the examination of other people. he had a trained observer's mind and information about people seemed to come naturally to him.
>> rose: interesting. >> mmm. very. >> rose: does any of that surprise you? >> no. you get the feeling when you're with him that... >> rose: you see smile glee >> yeah. i mean when i first started to work on the... like i said on the voice, it's actually matched. it's sort of... you know he's a little... obviously he's a little fussier and he's got that sort of... you know, and then you just... you've... you take it to another place and you take it somewhere else. but, yes, he's... it's... you get... without him really saying it you get a great sense that... you get the feeling there's a lot... this is a very personal book for him, i think. the whole episode in the school with the owl, that was his wife.
that happened to him with an owl coming down the chimney and catching fire. but it was ann, his first wife that took the bird and killed it yeah, you get the feeling that there was... the relationships in his life are based on. i understand the thing about... it being better at work. at being better at work than... >> rose: than living. >> yeah, i'm getting better at living as i get older. >> rose: because you are a parent or what? >> i've just mellowed and more... i have that... i don't have that the same. it's that ambition and that drive that you have when you're younger. it's the first thing you think about when you wake up when you're young and an actor is you
think about acting. >> rose: and the first thing you think about now is your kids? >> yes. >> rose: taking them to school and... >> and sort of... >> rose: and watching them emerge in front of your very eyes. >> yes. >> rose: but the... but what was interesting is what he said there. there's a focus that you have that i... that is a similar sort of focus that you can be on a movie set and you can have... you can be... really in the moment on your game and they call wrap and you can turn to the direct orator crew and you can say wow, guys, that was just terrific. and, you know, i was... good work today. good work today. and you're walking to your trailer and then suddenly you remembered oh, god, i'm getting divorced.
you've... you've... you forget that's one of the... that's one of the things about acting is the focus that it requires. you forget everything else. how do you remember all those lines? by forgetting everything else. and that's what... >> rose: better at work than living? >> better at work than living. but he carries this melancholy. as this sort of sadness to him. >> because he knows he's missed something and all he has is this work? >> >> yes, he's a casualty. >> rose: and why has not that not been true about you. how did you move away from that? >> i just got my... i think... i'd like to think a strength of character. i moved away from doing things
that were bad to me. >> rose: playing all those villains and something else? >> well, that's just typecasting and that... >> rose: letting other people define you. >> yeah and that happens and that is the... that's the book that defines gary, kind of thing. but it was a whole series of things and it was getting sober and having kids and personal life has been up until recently it's been disastrous. i'm... i always remember that. what was that line that woody allen had in that movie? he said "when it comes to relationships i get the augustus shrimper award." and i... and i've met... i've finally met someone. >>. >> rose: so were you bad at living or...
>> bad at living and bad at choosing. good artistic instinct bus when it came to love... >> rose: now is that all about her? in other words you didn't know what you were looking for but she had something you hadn't scene? >> i allowed her in. >> rose: you allowed her in. >> yes. and it's... it's... that's why i connect with... that's why i connect, i think with george. it's... it's... you get to a place where you can feel worthy. and it's my time it's... i can be loved and it's okay and i think that you... but i just turned it around and was open to it.
it's just a shift of perception. it's that old thing, isn't it? is the glass half empty or half full? it depends on how you look at it. and so things are... things are good right now and then of course this nomination is a sort of charity... the cherry on the cake. i'm enjoying it, charlie. i think you could... again, it's a choice. i think you could look at this, you could be stressed out, you could be overwhelmed, you could be cynical, it could be all too much, it's too much or... >> rose: enjoy. >> enjoy. and i'm in the front cabin. i've been invited up to the front cabin. >> rose: but here's the thing. that's so eloquent, it really is. but when you... there's so much
interesting about you. first of all the royal academy of dramatic art rejected you and said find another line of work. right? >> yeah. yeah. >> rose: but you didn't walk away saying "i'll never be an actor. you went somewhere else. >> i had a second opinion. >> rose: (laughs) >> did you choose well or wrong? did you... would you do it differently in terms? would you know to do it differently or do you have to simply live it yourself? i think you have to live it and accept it and it is what it is. >> rose: you find your own journey. >> it's my own story and there have been roles that certainly in a career there have been roles that i've not... that i didn't do and then they became very successful for other people. won an oscar for one of them at
the time you turn things down because you have your reasons for it so there's a few that got away. but it's my story and you can't... i can't feel... i can't feel sorry for myself. >> rose: it is your story because whatever it is that is inside of you to make you make those choices is the same thing that made you a great actor. you cannot separate those things. >> and it's what makes you make the right choices. >> rose: exactly >> i bring 33 years of experience to smiley.
my life, my experience to it, you know, am i the only actor that could play it? no. but it's... so i bring... i hope... i bring an interesting... an interesting life to it. that's maybe what thomas was talking about. he says i can see some of that life that you've lived on your face. >> rose: and you can do stillness and at the same time it has expression. >> i would hope! (laughs) >> rose: let me just say the following to you. this has been an extraordinary opportunity for me to have a conversation from you and i thank you for coming. >> oh, it's absolutely my pleasure. thank you for having me. >> i'm going to show you one more thing before we leave here. this is a montage of some of your work that we've just talked
about, this journey you have taken from growing up and going into the theater and then the whole movie career and now "tinker tailor soldier spy." a montage of gary oldman's work. ♪ ♪ ♪ i did it my way... >> you know i'm looking for! tell me again! i'm looking for a boy, smee. oh, what kind of a boy, captain? a wicked boy. a heartless boy! a boy who never ate his rice pudding. >> nobody's told me anything except that i'm accused of
murdering a policeman. i know nothing more than that and i do request someone to come forward to give me legal assistance. >> it's freely of your own will and live some of the happiness. >> count dracula? >> i am dracula. >> i've been a mystery to you. but i know exactly where your white ass is coming from. see, if i asked if you want some dinner. and this (bleep)er he's like he ain't got a care in the world. who know whos, maybe he don't.
♪ ♪ >> it's cruel that i got to spend so much time with james and lily and you so little. and now this. but but the onces we love never really leave us. and you can always find them in here. >> he stayed up with the right people. >> what will it take to bring him down? >> the d.a. may not even prosecute. >> rachel dawes. >> who are you? >> watch for my sign. >> you're just one man.