Moderator: Nelle
hatte das bild gestern in der nacht noch gesehen, aber jetzt scheint der link nicht mehr zu funktionieren, vielleicht liegts an der seite.
"bourne identity" hat mir z.b. auch gut gefallen. ich hoffe nur, dass sie die finger von einer sequel lassen. 
ich liebe eyeliner-pics! 
und habt alle ein schönes we!
Das Bild ging bei mir aber auch nicht, musste es erst in die Adress-Leiste kopieren. 
Habe mir auch letztens einen Banner für eine eventuelle Sig gebastelt. Das Cover (vorne und hinten) der neuen CD ist doch mal total gelungen ...
[/center] Die Bilder im Booklet sind ebenfalls sehr gelungen.
In Big Fish, due in November, [Alison] Lohman worked with Jessica Lange, Albert Finney and Ewan McGregor, who, in his own way, helped ease her nerves. "We had to do a kissing scene, and I was so nervous," Lohman says. "So the first time he met me, Ewan came straight up and kissed me right away, to get rid of the awkwardness."
hmmmm ... wenn ich sowas lese, denke ich mir immer, wie wäre es doch nett schauspielerin zu sein. ich finde das lied total schön. Zu dumm, dass ich noch nie besonderes schauspielerisches Talent hatte... jedenfalls nicht auf der Bühne etc. 
Da bräuchte ich nur einen der mir Englisch beibringt und das Studium bezahlt. 
Down With Love DVD preview
The Stats:
Fox // PG-13 // $27.98 // Release date: October 7, 2003
Review by Jason Bovberg | posted September 9, 2003
How's it look?
Fox presents Down With Love in a wildly colorful anamorphic-widescreen transfer of the film’s original 2.35:1 theatrical presentation. I was impressed by the level of fine detail here, but the biggest challenge of this transfer is the way it handles the film’s saturated color palette—it does so with verve. Perhaps a little too much verve. The deep, vivid colors—which have been digitally color-timed—have created something of an artificial monster.
In some places, the image itself seems so saturated with itself that it’s muddy. Blacks are a bit too deep, giving the film a too-dark look at times. And watch those opening credits, which are all primary colors and snazzy, dancing titles. The expanses of color are alive with compression artifacts. However, as the film went on, I noticed no artifacting, and only the slightest traces of edge enhancement.
How's it sound?
The disc’s Dolby Digital 5.1 track is quite immersive. The soundfield is as alive as the image, offering fluid ambience, particularly with the score. Surround channels are quite active with music. The front soundstage is also wide, providing good directional dialog with character movement. And the dialog itself is clear and free of distortion.
What else is there?
Fox has put together a pretty thorough special edition for Down With Love. The extras span the supplement spectrum, offering an extensive but curiously fluffy behind-the-scenes peek at the making of this unusual film.
First up is an Audio Commentary by Director Peyton Reed. This guy gives good commentary, as he did for Bring It On. I enjoyed this commentary more than I enjoyed the film. He has an infectious exuberance as he talks nonstop about his lofty goals for making the film. He talks about how intensely he studies those 60s sex comedies, and he scores points with DVD geeks by saying that he purposefully shot wide 2.35:1 compositions, not caring about any eventual pan-n-scan hackjob.
The "Here’s to Love" Original Network TV Performance is a full-frame presentation of the likeable musical number that McGregor and Zellweger perform over the end credits.
The "Down With Love" Deleted Scenes are 5 scenes, totaling 5 minutes, and they add up to very little. You can choose to view them with commentary by Reed.
"Guess My Game" Featuring Celebrity Mystery Guest Barbara Novak – Original Network Broadcast is exactly what you think it might be—the full-frame presentation of the television talk show that Novak appears on in the film
"Down With Love" Hair and Wardrobe Tests is a 90-second look at David Hyde Pierce, Ewan McGregor, and Renée Zellweger trying on costumes. This materially is essentially repeated in the later HBO Special, so you can skip this one with no regrets.
"Down With Love" Blooper Reel is actually an entertaining collection of flub and goofs involving the principal actors. It’s surprisingly lengthy and will make you laugh. You can definitely tell that they had fun on this set.
Next is a section called the "Down With Love" Documentaries, a collection of six tiny featurettes. (To call these little trifles "documentaries" is something of a joke, but they are educational.) First, On "Location" With "Down With Love" (3 minutes) talks about the film’s impressive digital-matte work. Second, Creating the World of "Down With Love" (3 minutes) covers the 60s style that’s been re-imagined as though through a movie of the time period. Third, The Costumes of "Down With Love" (2 minutes) talks about the film’s outrageous attention to costume detail. Fourth, The Swingin’ Sounds of "Down With Love" (2 minutes) covers the scoring by Marc Shaiman. Fifth, "Down With Love," Up With Tony Randall (2 minutes) talks about how much of a 60s icon Tony Randall was and how honored the cast and crew are to have him in this film. Sixth, "Down With Love"—Split Decisions (2 minutes) is a look at the split-screen techniques used to comic effect in the film.
The 12-minute HBO Special is a fluffy, ADD-paced promotional piece.
The "Down With Love" Testimonial is a 30-second fake advertisement for Barbara Novak’s magazine Now.
Finally, the Music Promo Spot is a soundtrack advertisement.
) und werde mich gleich wieder ins Bett schmeißen. 
hoffentlich gehts dir bald wieder besser!], mag an "meteora" aber eben besonders, dass chester einige lieder auch ohne gerappe des anderen typen singt (siehe z.b. "numb"), ich mag seine stimme sehr gerne. Langsam wird es totlangweilig. Wenn ich wenigstens lesen könnte... Ich fühle mich echt abgeschieden...Me: 'What do you think women find attractive about you?'Scot free
He's played junkies and city slickers, Jedi knights and US rangers. He's at home in Hollywood's boulevards and Glasgow's tenements. He spends his life in the arms of beautiful women and is happily married... It seems Ewan McGregor can do anything he wants. Here, he talks to Adam Higginbotham about love, lies and bad-hair days
SOURCE: The Observer: Sunday September 7, 2003
Sometimes, when he gets really bored by interviews, Ewan McGregor simply starts to tell lies. Just to spice things up a bit: when he's really had enough. And of all the lies he's told, there's one he's particularly fond of. It was after The Phantom Menace - his first Star Wars film - had come out. There was this reporter - Dutch, or maybe German, but anyway, his English wasn't brilliant - asking him questions about Star Wars: Episode II. Naturally, the film was surrounded by secrecy, and nobody was allowed to talk about it. But Ewan decided to give him an answer anyway.
'I told him that what was really interesting about the second episode was that we were going to shoot it entirely in space. And that I was really looking forward to doing that, because it would be a new challenge for all of us and the crew and everything.' Apparently satisfied with this, the reporter nodded quietly, and moved on to his next question. 'And I wish I'd been there,' McGregor says, fighting to get the words out, struggling through his giggling. 'I'd like to have been there when he was going over his tape - you know, later in the day.' And, with this, he dissolves into laughter.
McGregor has a barking, infectious thespian laugh. He's very good company; he knows how to tell a story. He accompanies his anecdotes with actions and amusing role-playing. He has exquisite timing and a great deadpan delivery. He is charming and candid. But he's used to commanding attention - it can be difficult to have a conversation with him. He declaims as if he needs to be heard at the back of the stalls and he's hard to interrupt. At times, he appears to answer questions with a well-rehearsed speed that suggests he might not be thinking much about what he's saying.
It's McGregor's sunny, bulletproof confidence that made him a star. It's what director Renny Rye saw when he cast him, straight from drama school, in his first screen role - as the second lead in Dennis Potter's Lipstick on Your Collar. 'You never know until you put them in front of a camera,' Rye says, 'whether it will happen on screen. You meet actors - some walk into a room with fantastic charisma, you put the camera on them, play it back - and there's nothing there. Others come in without it, and it only emerges in the camera. He has it in the room - and in the camera.'
McGregor and I meet in late June, upstairs in an anonymously opulent suite in Claridge's - 'I don't know what you'd call this,' he mutters, wandering off through a doorway into the richly upholstered distance. 'It's got a bedroom and two reception rooms...' He's grown a thick, reddish beard - the following week, he will be off to Australia to play Obi-Wan Kenobi again, in his third and final Star Wars movie. The beard contributes to a disarmingly dorky appearance: heavy black plastic-framed glasses, brown cardigan, a mobile phone stuffed into the breast pocket, camouflage-print canvas trainers, another of the Bad Haircuts with which his career has been blighted. He has a sniffling cold and sips from a cup of coffee he refills frequently.
He has a lot to talk about: this month sees the release of two films in which he stars. The first, Down with Love, is a slick romantic comedy, a hip Technicolor pastiche of the Rock Hudson-Doris Day sex comedies of the early 60s. Ren¿e Zellweger plays the uptight proto-feminist author to McGregor's bachelor-pad lothario - all ring-a-ding-ding one-liners and scenes played entirely in a towel - against a backdrop of New Frontier frocks and an artfully unreal version of New York in 1961.
The second could not be more different. Young Adam is a long, bleak, erotic psychodrama based on the book by cult 50s Beat author Alexander Trocchi, set mostly on a barge on the Edinburgh-Glasgow Clyde canal. McGregor plays Joe, an alienated, amoral drifter who engages in coldly efficient sex with every woman he meets. These two films conveniently map the most extreme polarities of McGregor's work to date: on one hand, the expensive Hollywood picture targeted squarely at the ladies in the house; on the other, the gritty, low-budget British film which is all artistic integrity and - in all likelihood - no audience. But it is McGregor's performance in Young Adam that's remarkable: this is not a Ewan McGregor we are used to seeing. In most of his roles, he has retained enough of his own warmth of personality to seem at least distantly likable in every part - whether he's junkie scumbag Renton or greedy wideboy Nick Leeson.
But, in Joe, he has created something else: a character without a moral compass of any kind, irredeemably lost and almost wholly unsympathetic. 'In a sort of arrogant, nihilistic way,' McGregor says, 'he just gives up on fuckin' everything... on any sense of responsibility to anybody or anything. I don't think that there's any question that there's any hope for him.' That he's so convincing is even more surprising, given that he once said how hard he finds it to play unpleasant characters. But when I mention this, he looks blank.
'Have I?'
Yes. Right at the beginning. You said it about Shallow Grave.
'Oh. God. I don't remember saying that. I don't. I don't find it particularly hard to play unpleasant characters. In fact, they're very often more interesting - you get more to get your teeth into. So I'll contradict myself there.'
It's because you're such a nice guy, you see - that's the idea.
'Oh, really? Maybe that was someone's spin on it, then,' he says, 'Because I am such a nice guy.'
McGregor says he's changed a lot in the past couple of years. He's had a go at behaving like a rock star, and just can't do it any more: the whipping his tackle out at parties, the drinking with journalists. He got sick of having a hangover all the time, and it got him into trouble. For a while, in the otherwise blandly insincere world of the film-star interview, Ewan McGregor was the one who could be counted upon for all sorts of positively incendiary saloon-bar soundbites: Minnie Driver? 'She's gone mad, mad. She goes to the opening of an envelope.' Blockbusters? 'Independence Day... I'd shoot myself in the head before I was in a film like that.' Jim Carrey? 'I just cannot fucking stomach the man.' He's not like that any more. On the long, four-month shoot of Ridley Scott's Black Hawk Down in Morocco, in 2001, he says he stayed away from the carousing of the younger members of the cast, like Josh Hartnett and Orlando Bloom. Instead, he spent his time reading books, playing chess and learning the banjo.
Me: 'When was the last time you got drunk?'
Him: 'Em... November 2000.'
Me: 'What was the occasion?'
Him: 'There was no occasion - other than just getting drunk.'
Me: 'Where were you?'
Him: 'Leicester Square.'
Me: [slightly alarmed expression]
Him: 'Not in the Square...'
Me: 'Infamous haunt of junkies and...'
Him: '...but round that area. Hahahahahaha. I went down to Leicester Square with a bottle of cider, you know, and some Woodbines. I don't drink any more. So I haven't been drunk since then.'
Me: 'Why did you stop?'
Him: 'Because I couldn't be good at my work and be a good dad and be a good husband and a really good drunk at the same time. I tried for many years to make that all work. But it didn't work for me.'
Me: 'Did you used to deliberately drink before interviews?'
Him: 'No. But I would always drink through interviews. Just 'cos I found that it was a way to feel less scared about them. But it always led to disaster, you know. Slagging people off that I didn't actually want to slag off. And the next morning going, "Fuckin' hell! What did I say that for?"'
Me: 'What were you scared of?'
Him: 'It's a weird situation to sit and have all your thoughts recorded to be then printed up to be sold to people to read in magazines and stuff. It's scary, isn't it?'
Mcgregor isn't interested in being famous. 'I'm very, very, interested in being successful - and I think there's a big difference. I don't think you'll ever wake up and go, "Fuck! That's it! I'm really famous! I've done it!" You'll never be famous enough. I would hate to be driven towards fame, because it's... such a bore,' he says. 'I can't be arsed with it.' He picks the films he works on simply for the stories, and sometimes for the directors he wants to work with. He scorns Hollywood actors driven by the need to win an Oscar, to become wealthy. He did Star Wars because it was part of the mythology of his childhood - it aggravates him that people assume the films take up all his time. 'I'm not,' he says, 'under their wing, and rented out to other filmmakers from Lucas or anything like that.' He often talks as if he simply regards acting as an excuse to do a lot of neat things that fulfil his childhood fantasies: becoming a soldier in Black Hawk Down; getting his own light-sabre and entering the Star Wars universe; and, now, with Down with Love, through a freak trick of postmodern screenwriting, he has even become one of the matinee idol film stars of the kind he saw on TV as a kid.
And he's started extracurricular trips, too. In 2001, he went on an expedition into the rainforest in Honduras with survival expert Ray Mears, for a one-off BBC documentary. Later the same year, he went up to the Hudson Bay in Canada to film polar bears. The stories that came back were of genuinely dangerous adventures: in Honduras, he came within a fraction of an inch of chopping his own leg to the bone with a machete; in Canada, one of the bears turned towards him during filming, and the crew had to distract it while McGregor sprinted for safety.
What goes through your mind when you're being chased by a polar bear?
'Erm... [Pauses, staring into the middle distance, pondering this for a moment, as if searching through his memory for the exact emotion he felt when this happened] I have never been chased by one, luckily. So I wouldn't know.'
I read that while you were filming this wildlife documentary, you were chased by a polar bear. 'Well, it's not true, I'm afraid. I was never chased by a polar bear. It must have made good print in something, I guess.
Here's some other things: I had a 180mph motorcycle accident in Scotland; I fell in the Clyde while I was making Young Adam; and I'm planning to make about eight movies. Those are all things that aren't true, that have been in print. My dad loves it - he phones me up and tells me what I'm supposed to be doing, which is very funny. He says, [adopts declamatory dad-on-the-phone voice] "Son! You're making a porn film with Salma Hayek"! Oh, am I? Oh, good. He gives me these bulletins about what I'm supposed to be doing.'
What's the worst rumour you've heard about yourself?
'The motorcycle crash one was a bit dodgy, because my brother, who's a pilot, was in Saudi Arabia at the time, and he got a copy of some tabloid newspaper saying that I'd had a 180mph motorcycle accident... which you don't walk away from if you're on the roads. But we couldn't get in touch with him to tell him it wasn't true, so he phoned up in a panic thinking I was... messed up, you know? I did fall off a bike in Scotland at that time, but I was doing maybe 40mph, not 180.'
Have you got a bike that'll do 180mph?
'Yeah... of course I do. But I certainly wouldn't be doing 180 on the roads, you know. You only do 180mph on a drag strip. Or [stage cough] on a motorway at night.'
Of course, the most infamous rumour about Ewan McGregor is not the one about him being killed in a motorcycle crash. It's the one about him having an affair with Nicole Kidman after they met on the set of Moulin Rouge. He is still genuinely exasperated by this. 'They ask me about it to my face,' he said at the beginning of last year, 'which I think is incredibly rude - they would never have the gall to ask her. It's a horrible thing to say about someone... who do they fucking think they're speaking to? It's shite. All unfounded.'
At Cannes, in May this year, he was asked about it once again. 'I haven't fucked Nicole,' he said angrily. 'I am a married man. I haven't been personally involved with all my leading ladies. It would maybe be somewhat glamorous if I had been, but I have not.'
Me: 'What do people get wrong about you?'
Him: 'I don't spend any time thinking about what other people think about me, so I don't really know. What's weird is, I no longer meet people without them having an idea of who I am. Whereas before, I would meet people and I'd meet them without judgment. I'm not guarded, I don't have any preconceived ideas - but people don't meet me like that any more. People meet me with a whole fuckin' idea of who I am.'
Me: 'You must have some idea.'
Him: 'No, I don't really. I don't. 'Cos most people would know me through my work, and I suppose what people write in the media. But I don't really read that, so I don't know what that is.'
Me: 'What do you think women find attractive about you?'
Him: 'About me? I've got no idea.'
Me: 'You're going to have to do better with these "I have no idea" answers, you know.'
Him: 'I know, but it's a really weird... the idea of what other people are thinking isn't of any great concern and I don't really know.'
Me: 'But that's important for your job - come on.'
Him: 'No, no, no. No - it's never been my intention while acting in front of a camera to make the women in the audience find me attractive. Ever.'
Me: 'But in the movie you're starring in at the moment, that's part of the point of the character.'
Him: 'Oh, sure. But my intention was to play a ladies' man and a suave, cool, swinging... almost to play a movie star in a movie. But not to make the women in the audience find me attractive, I don't think. That certainly wasn't my process. That's not my process at all.'
For a man once renowned for drinking benders and hanging around backstage with Oasis, McGregor is surprisingly serious about his work. He's not a method actor; he says he doesn't take work home with him, and his lack of advance preparation for parts is infamous - he didn't bother reading Jane Austen's book for Emma, turned up to auditions for Nora - in which he would play James Joyce - not knowing the first thing about the author, and reputedly warmed up for fight scenes in The Phantom Menace by having a few beers. In fact, he makes the whole business of acting sound very easy indeed.
'Aye,' he says. 'By the time we've got going, yeah... I don't find it a tortuous process.' But that doesn't mean he just ambles on to the set and makes it up as he goes along. He made Young Adam and Down with Love back-to-back, finishing shooting in Scotland on Friday, and starting work in Hollywood on Monday. It was not easy. 'I literally had a weekend off. And when I got to LA and started rehearsing, I thought this was the one I wasn't going to be able to do. Coming out of playing this introspective, hopeless figure in Scotland to suddenly being in Hollywood doing a Cary Grant part. It's a big leap. It's more obvious to me that that's part, now, of my... deal. Because it was the same when I started Young Adam. Before the first day of shooting, there'll be a day when I just think I can't do it - I don't know how to do this one.
Do you ever dream in character?
'No. Ha ha. Never. I dream a lot... Actors - most of them - have work-related dreams. When I've been involved in really hard shoots - six days a week and full-on hours - then very often there's a kind of half-awake, half-asleep thing where the crew are all in your bedroom, standing around, filming you in the bed, asking you to move around. I've experienced this, where I've been moving over in my bed to be in the right position. And you're like, "Wait a minute, I'm in bed, you should all... this is my time, surely? You shouldn't be filming me in my fucking bed!" And then they all disappear.'
McGregor has this dream a lot. It's usually just from fatigue, exhaustion. 'Months of people telling you where to put your fucking arms and legs.' The other one he has is where he's backstage in a theatre, about to go on to perform in a play - only he doesn't know what the play is, or any of the lines. The director of the play changes, depending on who he's working with - when he was making Moulin Rouge, it was Baz Luhrmann; earlier this year, shooting Big Fish in Alabama, it was Tim Burton.
But, often, it's about the play his uncle Denis directed him in, back in 1998: Little Malcolm and his Struggle Against the Eunuchs. 'I couldn't remember a line of Little Malcolm now. But I'll dream I've got to go on and do it in, like, 10 minutes. And then it becomes about finding the script. And you know if you find the script, somehow you'll be all right. You'll be able to go on there and pull it off. So you're running round backstage: "Has anyone seen my script?" And somebody maybe saw it over there - and you go there and it's gone... and suddenly you've got to go on. And usually then you wake up in a cold sweat... but it's a real panic. They're horrible dreams.'
Have you ever found the script?
'No. I've never found the script. No.'
Ewan McGregor wants to do more theatre. Eventually, of course, he'd really like to do more directing. So far, his only experience of it has been on a 10-minute short he made back in 1999. That - and his great moment on Star Wars. It was in a scene where Obi-Wan Kenobi meets the teenage son of the villain, Jango Fett, for the first time. George Lucas wanted the 13-year-old actor to open the door to McGregor, and look slightly suspicious. 'And he wasn't getting that across to the kid very well. So I said to him, "When the door opens, just imagine I've done - that you smell - this really terrible fart." So the door opened and he went [crinkles nose in mildly comical manner] and it made him look really suspicious of me. It worked! It was perfect! And it saved another moment on the silver screen! That was a classic - I have to say that that was a fucking great note I gave that kid there.'
Do you have any other shortcuts?
'No. The best way to act is to feel what you're supposed to be doing. If you're thinking about what's happening on your face, you're not doing it properly, you know. You've got to be in the emotional place of your character to make it work. Telling a kid to smell a fart because he can't look suspicious is one thing, but I certainly wouldn't be giving myself the same kind of notes'
What's the worst thing you've done?
'Work wise? My character Frank Churchill on Emma. I made the decision to do that film because I thought I should be seen to be doing something different from Trainspotting. My decision-making was wrong. It's the only time I've done that. And I learnt from it, you know. So I'm glad of that - because it was early on and I learnt my lesson. It's a good film, Emma, but I'm just... not very good in it. I'm not helped because I'm also wearing the world's worst wig. It's quite a laugh, checking that wig out.'
What's the worst haircut you've had?
'When I was at drama school, I shaved my head - a number one all over, except for a really long, 2in-wide fringe. And I dyed it all henna orange. And, er... nobody liked it. But I thought it was cool. Sometimes you'd have the fringe down in front of your face. Sometimes I'd plait it and put it behind my ear. And other times I'd just smooth it through the skinhead. I still think it was quite cool, but nobody seems to agree.'
What did people say to you about it?
'"Don't do that to your hair, ever again." It's not conducive to being able to play a lot of parts.' Me: Are you currently appearing in any commercials I should know about?
Him: 'In Japan, probably, yeah. I do commercials in Japan and I don't do them anywhere else.'
Me: Do you still do them in Japan?
Him: 'Oh yeah. Fuck, yeah. Hahahahahahahahaha. What am I selling there now? I do a British language-school campaign. And I also sell coffee in a can. It's called Roots, and they're little cans of coffee, different strengths and flavours - and they come out of vending machines on the street, but they come out hot. So I sell them.'
Me: And why do you do these things?
Him: 'Cos they pay you a lot of money to do them. Yeah.'
Me: Is that something you need?
Him: 'Yeah, sure. I have a big house and a big mortgage and... yeah. Oh, yeah.'
Me: Really?
Him: [With an edge of sarcasm] 'What - I really have a big house and a big mortgage? Yeah.'
Ewan McGregor's elder daughter, Clara, is now seven years old. She's just reaching the age where he's introducing her to his films. She's already seen Star Wars, and Moulin Rouge - 'She cried her eyes out, poor thing.' Now he thinks she might be ready for Brassed Off - 'That's a nice film. There's only a bit of... necking and stuff in it. That would be all right.' He and his wife Eve have always been careful with the kids - they don't watch children's TV. Instead, they watch Charlie Chaplin and old British and French movies. They understand what their father does for a living: 'We never talk about me being in Star Wars. We talk about me playing Obi-Wan Kenobi in Star Wars.'
One day, when she was four, and he was performing Little Malcolm, McGregor took Clara up to the old Hampstead Theatre Club, to show her where he went every night. He took her into the empty auditorium and explained how, each evening, the seats were filled with people who came to see him and his friends tell them a story. He climbed up on stage and acted out a little story for his daughter, while she sat in the stalls. And, when he'd finished, he gave Clara her turn. He can't remember the story she told. But, being up on that stage, even with just her dad in the audience, she didn't quite know what to do with herself. 'She was rather embarrassed. Funny,' he says, still a little surprised. 'She got quite shy about it.'
With his bracing confidence, his blazing charisma and his cheerful alacrity to be filmed completely naked, the one thing it seems impossible to imagine of Ewan McGregor is his becoming embarrassed.
'Uh-huh,' he says slowly, when I suggest this, and thinks about it for an uncommonly long time. 'I can be as embarrassed,' he says in the end, 'as the next person, I suppose.' And he tells me an illustrative story. It was back in 1997, at the funeral of his friend Ronnie Fraser, in Hampstead. He and Eve had just arrived. At the top of the hill, clustered behind the hearse, were the pallbearers - led by Sean Connery and Peter O'Toole. They were deep in discussion. 'And O'Toole looked down the road at me, had another quick chat, and started walking down the road towards me. In the blinking of an eye, I immediately knew that they were one pallbearer short - so here was O'Toole striding purposefully down the road to ask me to help carry the coffin.' So Ewan stamped out his cigarette, and set off to meet O'Toole half way. As he got within a few feet of him, McGregor extended his hand solemnly, to say, "Yes, Mr O'Toole, I'd be honoured to help."
'And he looked at me rather dismissively, walked straight past me to a woman standing behind me, had a chat with her, and walked back up to the hearse. He walked past me, like, "Who the fuck is that?" That was a real stomach-knotter, that. That was maybe the most embarrassing thing that's happened to me, ever.'
This is interesting, I think. Is Ewan McGregor, after all, perhaps a little star-struck?
'Well, yes... yes... I mean... it wasn't necessarily because it was Peter O'Toole. Everyone was watching Peter O'Toole walking down the road towards me, and I did,' he says, 'look like a cunt.' And then, once again, he barks with thespian laughter.
· Young Adam is released on 26 September and Down With Love is out on 3 October
