Some people write about things that are distant to them,
and some write about things that are
really close to them. And I write about here.
TIM: I woke up the next morning, hung-over, ashamed of myself,
and not realizing it was the day
that would change my life forever.
I think the film is probably
the most personal one he's written.
The first time I met him, he told me
it was the last one he was going to direct.
And it was a real shock, but I think it's for the same reasons,
what they talk about in the film.
Family, and making time to enjoy
and appreciate the short amount of time that you have.
Let's just do another one. Then we'll be good.
You can tell that he's very close to it and it's very personal.
And that he brings so much of himself to it.
He's very generous with his spirit.
It was nice for me, I think, in this case,
to be able to write about my world.
But to inhabit it, actually, with two people who were not from my world.
I'm gonna go into the bedroom and put on my new pyjamas.
And then in a minute you can come in and take them off.
I'm sure it'll be better next time.
The Curtisian world holds a mirror up to all of us as well.
So that the audience absolutely can see themselves,
or their own lives or their own emotions and all the rest of it,
in terms of the work that he's doing.
And quite often, he's also stating the obvious.
But he does it in an absolutely brilliant way.
My parents are in town. They're visiting and they're coming around.
When? Now.
Now now?
Now now.
So you should probably put on some pants.
His films are exactly like Richard.
Full of heart and full of love and full of generosity.
And cut. Cut there.
He's plugged into people's hearts. He just is.
He is talking about things that most people deal with.
I am so uninterested in a life without your father.
Mary. Come on, let's make some tea.
He set out to make a movie in About Time
to reflect on the good things in life.
And stuff happens, life's complicated, but you need to appreciate
what's in front of you, because that's probably the most important thing.
And more often than not, it is the most important thing.
His own idealism
about the world,
I think, is what informs the good-hearted,
loving nature of his romantic comedies.
It's your first day, and you're already having to get used to it,
and it's the beginning of a love affair.
Richard creates the most amazing environment, 'cause it just allows you
to have fun and play with everything you're doing, which you have to.
He'll try and keep you happy.
It's, sort of, every day I can't believe what a supportive set it's been,
and how happy everyone is, and that you can do good work
and feel good at the same time.
No film is without this worry, that is it working?
Are we doing the right things and making the right choices?
And all that sort of stuff.
But everybody hung out and there was a lot of laughter.
And a lot of sunshine, and a lot of people getting on.
And Richard just really brings that sense of happiness to set.
So, I'll be very sad if it's the last film he does, but I'll understand.
I was slightly aware when I was writing Love Actually,
which is perhaps why I wrote a movie with 11 stories in it.
That the love story, falling-in-love thing, was
something that was a little bit in my past.
And this movie, dealing as it does,
with children and your parents getting old and stuff, is up-to-date.
So, maybe I will make another film in 20 years.
But it's maybe a good thing to feel as though
a film that you've just made covers all the ground you want to cover.
I think that's howl feel about this film.
(APPLAUSE)
RICHARD CURTIS: Lovely, and cut.