:05:00
I just tuned right out. We made out
in the back row and left at intermission.
:05:04
I was brought up in a school...
:05:07
...where Shakespeare was taught
very kind of...
:05:11
...straightforwardly and dully,
to be honest.
:05:14
We read it aloud and it made no sense,
because there was no connection made.
:05:19
My own experience...
:05:21
...was in the fields in Michigan,
where I was raised on a farm...
:05:26
...and an uncle, who was a Northern
guy, black Northern guy...
:05:30
...came out of the field one day
and started narrating...
:05:32
...Antony's speech, the funeral oration.
:05:36
- From Shakespeare's Julius Caesar?
- Yeah. We'd heard stuff from the Bible...
:05:40
...but my first time as a kid,
I was hearing...
:05:44
...great words having great meaning.
:05:48
KIMBALL:
What brings us to Montreal?
:05:51
To Paris? To London?
:05:53
What takes us into dungeons,
to parapets...
:05:56
- To Japan next.
- To Japan, maybe, is a quest.
:06:01
PACINO:
It has always been a dream of mine...
:06:03
... to communicate how I feel
about Shakespeare to other people.
:06:07
So I asked my friend Frederic Kimball,
who is an actor and a writer...
:06:12
... and also our colleagues
Michael Hadge...
:06:15
... and James Bulleit, to join me.
:06:17
And by taking this one play,
Richard III...
:06:22
... analyzing it, approaching it
from different angles...
:06:26
... putting on costumes,
playing out scenes...
:06:29
... we could communicate
both our passion for it...
:06:34
... our understanding
that we've come to...
:06:37
... and in doing that...
:06:39
... communicate a Shakespeare
that is about how we feel...
:06:43
... and how we think today. That's
the effort we're gonna give it here.
:06:48
KIMBALL:
We've done Richard three times. Twice.
:06:50
You did it at the Studio, we've done it
in Boston and on Broadway.
:06:55
At least, the head start is that
I've done it. You've done it.
:06:59
- But the problem, Frederic...
KIMBALL: The audience hasn't done it.