something looking over. romeo, romeo, wherefore art thou, romeo? i mean, you've become globally famous. there isn't kind of a household in america that doesn't know you of course, for downton abbey, you, notting hill. for television and cinema. but you started out in theatre. do you, do you miss it? would you like to go back? yes, absolutely. when you kind of potter around backstage, are you getting that little pitter patter of... i know, definitely. definitely. the, you know, the roar of the greasepaint, the smell of the crowd. no, i love it. it's my, it sounds a cliche, but it is my home. it's where i started. and it's all i ever wanted to do, was be in theatre. i never thought i'd be on screen. i thought, in my sort of weird, teenage, early—20s brain, that screen acting was something that was over there, and that's what americans did brilliantly, and theatre was a sort of british tradition, and that's where i felt at home.

so i feel very, i love being onstage. i love being in a live environment. i haven't been onstage, actually, for a couple of years now, five years, probably. but i'm looking forward to going back and doing some more because it is, it's live and you have a control over the performance, which you don't on screen. is it true, that thing people always say about how you feel the audience when you're onstage? you can feel whether they're paying attention or slightly looking at their watches, thinking, am i going to make the last train home? yeah. you can? totally. the last play i did was a beautiful play by bill nicholson called shadowlands, which is a movie with debra winger and tony hopkins about cs lewis and his late—flowering love. and it's shot through with great wit and humour about this very closed—off man who finds love late in life, and then she dies. and it's really a story about the question that he asks at the beginning of the play is, if god is love, why does he allow suffering? and cs lewis has to come to terms with that. and the final scene,

when cs lewis finally breaks down in front of his late wife's son, is very, very, very moving. and i have to say, there's a quality of silence when you get it right. and to hear, whatever, 800, 1,000 peoplejust going completely quiet as this man goes through what he's going through, it's very special. it's very special. as is a huge woofer of a laugh, you know, and you can't get that. i mean, you can get it in a movie theatre, if you all go — please, never stop going to movie theatres! but we do become, you know, we have become, particularly since the pandemic, and we all bought bigger tvs and we sit at home with our popcorn, we think, why would we go out and share an experience? but there is a hunger for the live experience, and long may it last. could we see you in shakespeare again? 0h, i'd love to, yeah. i don't know what, but... any roles you'd love to play? well, i think it's time for my romeo, don't you,

katty?! i hate to say this, hugh, you know, maybe a little, little old for romeo. imean... well, listen, ian mckellen played hamlet... i don't want to be your director, saying, god forbid, i'm sure the make—up artist could do a greatjob. well, i think if ian mckellen can play hamlet at 83, then... you could damn well play romeo! ..i can damn well play romeo! might need a, you know, a truss or something! ok, i think we should go downstairs. but, wait, can we do it? can you manage this? 0k. romeo and juliet, the balcony scene, for one night and one night only, brought to you by hugh bonneville and katty kay. oh, gosh, i haven't done this for... i don't know, how many years? this is your challenge. 1982, i think i did this. but soft! what light through yonder window breaks? it is the east and juliet is the sun! arise, fairsun, and kill the envious moon who is already sick and pale with grief that thou, her maid, art far more fair than she.

be not her maid, since she is envious. that's all you're getting! i mean, that's all i have to say. she speaks, but not to me. 0k, applause! i think we got... we nailed it. we've got the role! 0ne take and one take only. we've got the part. you grew up quite shy as a child. acting doesn't seem like the obvious career. i know a lot of people who are sort of shy or introverted in some ways and find a release onstage or in character. i think that's certainly a characteristic of mine. i was the youngest of three. my sister was six years older, so i wasn't alone. i mean, sorry, iwasn�*t lonely, but i was alone because they were, you know, they were at boarding school. so, i did have to make my own entertainment, really. i didn't have them, you know, chasing me around the garden and pinching me. so, the dressing—up box

became my friend and the world of the imagination. and you had a lodger who was an actor? that's right. did that inspire you? definitely. there was an actor called michael bates, who my parents had known just from, as a neighbour when they used to live in south west london. and we were living in south east london now, and the greenwich theatre was our local theatre, and michael came to lodge for a few nights, or a week or so, while they were getting the play up and running. and ijust thought he was the bloke who, you know, had a boiled egg at breakfast. and then one night, my dad said, "shall we go and pick "michael up from the theatre?" and i was very excited because it meant staying up past my bedtime. i was probably seven or eight. and i can remember going to the greenwich theatre and creeping into the back of the stalls, and there was our lodger onstage, and it was a play called forget—me—not lane, by peter nichols. and it was the final scene, and i can't remember whether it was a funny

scene or a pin—drop silent scene, whatever. he and his colleagues were telling this story in the dark and had 300, 400 people in the palm of their hands, and i was absolutely captivated. the next morning, ijust stared at him at breakfast. i was completely mesmerised. forget the egg and the... he was the god who ate an egg. and i looked at him in a completely different way, that he and his colleagues had had this extraordinary impact on a shared experience in a room like this, you know, and that really, i can remember it vividly. so, that was a proper influence. the characters that you've played and that you've particularly become well known for in america, i guess it was, i mean, it was downton abbey, so let's talk about that, that kind of catapulted you. i and some friends spent every sunday night for about four series of downton abbey having dinner together, watching. and our kids, there were sort of six kids, and we would go from house to house. we always liked it when we went to our italian friends, the food was better! and we would sit and watch downton abbey, and almost

everyone i knew was having a similar experience. and i remember the first time i met you, it was at the state department. i went in and i said, "hugh, do you realise how big "it is here?" it was just when it was exploding. and you said, "i don't know why. "it's just a posh soap!" which it is, and i mean that as a compliment to it. julian fellowes was a big fan of coronation street, which is one of the longest—running soaps in the world, i think, hugely popular still in britain. and he was a big fan of the west wing and scenes that, or rather, shows that have tremendous pace to them and short scenes often, usually. and that was one of the characteristics of downton, that it had this sort of breakneck pace to it. or rather, if you got bored of one character, there was another one coming along in about 25 seconds. so, it did have that soap element. and certainly, for most of us of the show, you could say that it was about, for example, tension, not violence, romance, not sex. you could sit down with your granny, you know, and with your grandchild and watch it.

and that sense of crossing the generations was something that really, i think, took, why the show took off, that it became a family experience, as you say. the other movie, i guess, that i knew you for first and that i think americans did as well, was notting hill. talking of rather bumbling british characters! but i have to say, i love bernie. and for me, he stole the movie. i mean, julia roberts and hugh grant, but it was, there was, you had those short scenes, where you took the film away. was that film, for you, a kind of breakout moment as well? we talked about downton abbey, but i imagine that notting hill and what you did with that role... notting hill was a wonderful experience, i have to say. it was my first sort of decent part in a film. all of us had much bigger parts, and they ended up on the cutting room floor, in order to put the money on the screen, hugh and julia, understandably. but we had a beautiful, it was a beautifully written script and really fun to do and with nice people. and we had a laugh.

and i was in a, you know, a big—budget movie for the first time. so, what's not to like? i learnt a lot on that film. for instance, if you're going to do a dining—room scene, be careful what you eat on the wide shot because you've got to eat it on every other angle. and we do, as you may recall, who's going to eat the brown, the last brownie? and... 0h, at the end of the dinner party? at the end of the dinner party, there's a whole brownie sequence and i, like a mug, at 8am, ate two brownies on the wide shot. and so, there are about eight other angles that day and i ended up having to eat these bloody brownies! and i swear to god, i went out for dinner that night at a friend's house and they served brownies, and i sort of virtually threw up! so, i learnt that trick of the trade — don't eat unless you have to. what was it like working with a kind of real celeb? the first time you... i mean, julia roberts was mega. still is mega, but was mega when you worked with her. yeah, yeah. was that kind of daunting, scary? did you have normal human reactions...

well, it was quite funny, because these were the days... ..or were you confident enough to say, "whatever, a celeb"? well, i can remember, we were rehearsing in this freezing cold church hall in notting hill, literally with a sort of gas heater here, and we were all huddled round, and it's the days when there was a lot more smoking going on. so we'd all be puffing away. and roger michell, the director, and, er, you know, with their ashtrays. this is beforejulia arrived. so we had two or three days, i think, before she arrived. and then literally, on the day she arrived, everyone stopped smoking. suddenly, there was... and she came in. i remember her coming in and saying, you know, hi, and she was wearing jeans and a t—shirt. i thought, a, she's stunning, you know, of course, she's got this amazing radiance about her, but also, she's just completely normal. she's just one of us. and the first thing she said was, "anyone have a cigarette?" so out came five packets of silk cut! so... well, that's sort of what the film's about, isn't it, really, in a way, notting hill? it's about that notion of normality and celebrity and the trappings that come with it, good and bad, to do with being in the public eye.

you know, it's a tricky one. and you've now been in the public eye. i mean, it must be, that was kind of, like you say, about the trappings of... do you have moments where you think, "0h, "god, ijust want to be anonymous"? and... yeah, ido. ..it�*s hard for you to walk around. yeah, all i ever wanted was to be, frankly, all i ever wanted was to be onstage. i never thought i'd be on telly or, indeed, in a film, or be in the public eye in that way. so, it's a strange, it is a strange thing. it's a strange thing, when you're in a restaurant and you're aware that someone�*s taking pictures of you and you think, well, can ijust finish my meal? and, you know, erm... people always say, "i'm sorry, i don't normally do this." you think, well, there's two lies, straight away! you're not sorry and you do do this, and i am in the middle of a meal. and can i, you know, can ijust finish my meal, then we'll have a picture outside or something like that? so, i think the world of the camera phone and all that has changed things a lot. have you ever thought of playing an american? hugh chuckles. can i hear you? no! go on!

no, i'm too self—conscious. i've got proper... he can do it! please! no, i can't. i bet you can. no, i can with a bit of study, but, no, i'm too self—conscious now. but we did do once on i think it was stephen colbert, we were doing, three of us went on, three of us from downton went on and he gave us the script and we had to do it, do the characters in american accents, which was quite funny. so, reading robert as an american. i can't... yeah, i can't do it. my kids do both british and american. and when they're with their american friends, they only speak american, and when they're with us, they speak british and they can't switch. so if they were with us, they couldn't speak american. that's interesting. they don't know how to... yeah. it's a language that belongs... it's an accent that belongs to certain circumstances in their life. so i can see why you can't suddenly turn it on. no, i should be able to. even though you did a very good romeo. no, i'm not falling for it! romeo in american? yeah! in american accent: but soft light through yonder window i breaks. you did it! a bit like some of your

characters, and i'm thinking, i guess, of bernie, particularly, in notting hill, you're one of the most self—deprecating people i know, in real life and on—screen, but... ..so i'm sort of almost not sure if i can ask this question, but what is it that makes you such a good actor? er, i'm a good listener. acting is about listening, i think. and... there's a michael caine story. he does it, there's a lovely thing on youtube, which i recommend to every young actor to watch, it's a masterclass he did, probably 30 years ago now. and in it, he talks about when he was onstage at the royal court theatre in london, in his early career, and he had, you know, no lines or whatever. i think he was playing a policeman or something, standing at the back of the stage while the interview took place with the copper and the bad guy. and at one point, the director said to him during rehearsals, he said, "what are you, what are you doing, michael?" he said, "well, i'm

not doing anything. "i haven't got anything to say." and he said, "no, you've got loads to say. "you've got the world of stuff you could talk about, "but you choose not to." so, in other words, keep it alive. you know, keep the thoughts alive, even if you have got a smallish part. and actually, julian fellowes brought that up at the read—through of the very first episode of downton abbey. he said, "go and watch gosford park "and look at sophie thompson. "she hasn't got a lot of lines, but she's absolutely present "in every single scene. "and you absolutely are inside the head of "that character," which was a very good note. so, it's about being present. it's about being, and, as i say, listening and reacting. it's notjust about how many lines you've got. what you wanted from it when you were a child and you went and saw that lodger, is it what you've got from it, that sense of being able to captivate an audience? yeah. i think probably the happiest four days in my career were when, at the royal shakespeare company, the four plays that we'd rehearsed over the period of several months, finally came on stream together.

and that thrill of being with the same company of people, pretty much the same company, with a different audience every day, with a different, wonderful play, that was thrilling, and i loved that. so, that element of doing what i used to do as a kid with the dressing—up box, doing itand being paid for it is a wonderful feeling. we had something to show you. this is a kind of little this is your life, hugh bonneville, moment. oh, my gosh. what? ah! 0k. so that is my very first professionaljob. that's. .. we'd, erm... i had understudied ralph fiennes as lysander in a midsummer night's dream. then we went on tour around europe, and i got promoted to play lysander because he was playing 0beron. and so, this is my hermia. beverly hills was her name. she changed her name from beverly williams to beverly hills. and, uh, and carolyn backhouse. and this is an actor called ben cole. actually, you changed your name from williams.

i did, you're quite right. but not to hills! not hills, no. not to beverly hills. no. yeah, no, because... maybe that was aspirations. so, that was actually, that's taken in munich. we were doing publicity for the show, as we took it on tour around europe. and, yes, i look like i've got really funny big pants on! you have got funny big pants on, but it is still very recognisably you. um... this one, i love. ha—ha! well, yes, you were talking earlier about the impact of our show. this is, i think, about season four or five, and when the show had become hugely popular. and you can see there's a couple of paparazzi lenses there. quite a lot of paparazzi. yeah. that's what i love. it looks like you're sort of hiding. iam! you are hiding. literally hiding. and i love that picture because they don't know i'm there. yeah. so, iam... we were about to do a scene over in the village shop, or the church, or whatever it was. and, yeah, by then, we had to have security and stuff because people wanted to come and see what we were up to, and the paps wanted

long—lens pictures. so, just to be able to stand just behind a wall, knowing that all that was going on... yeah, it's the knowing smile that you know you're hiding and they don't know you're there, that's what i like about that. and this is now your life, of course, where you just hang out with matt damon and george clooney! oh, yeah, well, he was, i have to say, the most generous of directors and company leaders, a true gent, and i couldn't believe it. my first day's filming on the monuments men was with the lovely bob balaban and john goodman, matt damon, jean dujardin, and, erm... and then, yes, 0k, we've got paddington here. so, the reason for this is that when we finished paddington i, there was an edict went out from studiocanal, the producers, saying, "we'd love to see where paddington goes this year. "will you send in photographs so we can keep the bear alive, "as it were, while we're editing?" and so i took paddington everywhere with me. and i had him, you know, i took him on chat shows and, you know, they always cut it out. but i took paddington...

so, i said to the monuments men, guys, you know, "can i have a picture with paddington?" so, i used to, wherever i was in the world, i'd send pictures of paddington back to studiocanal. so, they were rather pleased with that one. yeah, i bet they liked that. um... this is a lovely photo. oh, you got me. you got me. mm. it's my darling dad. yeah, that's my darling dad, who passed awayjust before the pandemic hit. we were able to give him a proper send—off in a church, unlike so many thousands of people who couldn't say goodbye to their beloved ones. he was 94, so he'd had an amazing innings. and, er... and dementia was the journey that he went on. he was a surgeon. a urologist, right? he was a urologist, yeah. waterworks. and he was a wonderful pianist, as well as a skilled surgeon with his hands. so, that was... and it was his ability to play music was with him to the very, well, nearly the end. your dad thought you were

going to be a lawyer? yeah, yeah. what did he think of, you know, you making a full—time career of acting? i don't know. he was incredibly supportive, as was my mum, but i think it was a world he found a little strange. but they were, they were very good at bigging up behind one's back. i remember, as i say, my very firstjob was at regent's park, at the open air theatre, in midsummer night's dream. i had one line in romeo and juliet as well, with ralph fiennes playing romeo, and i bumped into my godfather one afternoon. he said, "i gather you're playing romeo at regent's park." i thought, i know where that story's come from! you've got to love parents, right? i know, i know. so, they were incredibly supportive. he thought that tv and film was a bit odd. theatre was all right, though. theatre was legitimate. but they'd always had, you'd had art, i mean, your dad played the piano, and you talk about how you felt lucky to have always had art, even in a sort of light—touch way... yeah. ..the arts... absolutely. ..in your life growing up, and they gave you that. completely.

they did. and i'm immensely grateful to them because, you know, there was a sort of background white noise of culture, with a small c. they weren't highfalutin. we just went to every blooming country house and every museum and every art gallery. and i was so bored! and you grumbled. and i grumbled. all i wanted to do was get to the gift shop and buy a key ring, you know, that was the important thing! and i am so grateful to them because, as i say, i grew up with this, taking for granted that this cultural background was everyone�*s, but it's not. i realise how privileged i was, and particularly when i got into my teens and joined the national youth theatre and realised, and started to meet kids from all over the country, from different backgrounds to mine, and i realised how damn lucky i was to have been taken to the theatre, to concerts, to art galleries. and so, that's why i'm passionate now about things like the national youth theatre and other arts organisations that allow a bigger outreach for young people because, you know, it's what makes us

human, the notion of culture, whatever, in whatever form, to use the imagination, to explore the imagination and the intellect, to try and understand each other as human beings. god knows, we need understanding. and not everyone has access to it, and i'm passionate about enabling access. i love that. yeah. hugh, thank you very much. thank you, katty. i've enjoyed it. i've really enjoyed being in this theatre as well. yeah. what a treat. how lucky are we?

hello there. we had pretty big temperature contrast across the uk on thursday, it was western areas that had the mildest weather with temperatures around swansea pushed up into double figures whereas in contrast to that around parts of east anglia throughout most of east anglia throughout most of the afternoon temptress was struggling at around four celsius with grey skies. a bit struggling at around four celsius with grey skies. a bit of damp and drizzly weather of damp and drizzly weather around as well. invite is around as well. invite is forecast a suspect around forecast a suspect around wealth and southern parts of wealth and southern parts of good will have a lot of cloud good will have a lot of cloud around through the debit with around through the debit with some breaks in the cloud best some breaks in the cloud best for that through northeast for that through northeast queensland to the east and for queensland to the east and for a mist in scotland the north mist in scotland the north and west of scotland might see a mist in scotland the north and west of scotland might see outbreaks of rain for a time. outbreaks of rain for a time. mild in west with temptress up mild in west with temptress up to 12 degrees but across parts to 12 degrees but across parts of it is in england temperature of it is in england temperature

is still a little lower than is still a be that with highs of around eight. through friday evening and friday night with the cloudy whether it was possible country with some mist and fog patches around and outbreaks of rain starting up across the western side of scotland. the overnight temptress friday night you can see it will stay pretty mild for most. into the breaks i"; at around four weekend the weather front gets stuck across the north—west of scotland and that will be bringing large rainfall totals to the highlands, where over the course of the weekend we could see something like 175 millimetres of rain of the high ground which is enough to cause flooding concerned and that volume of rain could trigger a few landslips. away from the highlands of scotland, southwesterly winds will drag increasingly mild and across the uk, so weatherwise on saturday every rain across the north—west of scotland with a lot of the cloud across the western side of the country with drizzle quite widely across coasts and hills probably murky as well. it instant areas of england for a

time instant scotland will be the cloud and the breaks in the cloud and the best of the day sunshine. temperatures continue to rise looking at highs of around 11 degrees to 30 degrees on saturday. for sundays forecast a greater chance of seeing more in the way for sunshine coming across good and wells but at the same time ray looks to be more extensive retirement in scotland and properly more wet weather brushing into northern ireland for a few hours as well. southwesterly winds continue to drag mild air up, temperatures the most will range between 12 and 1a celsius through sunday afternoon. mild weather stays with us into monday as well with that southwesterly flow of air across the country, a few systems the threat of somewhat ran across wells and south—west are good and another front approaches the north—western out of the uk with a rain back into scotland. that rain is associated with a cold front and will ultimately be dropping the temperatures as we look at the temperatures as we look at the forecast into next week. a week before christmas, the run—up to christmas, we lose the mild health westerlies and

we replace them with holder, north—westerly is turning colder than in the week before christmas for all of us. for tuesday, it looks like there will be happy ran across parts of england and wales relatively mild across the south of the uk. to the north—west it's a day of sunshine and showers, some of those shallots could start to turn wintry over the high winds where temperatures will be dropping away. looking at highs of around seven or eight degrees in scotland, eight degrees in scotland, eight or 94 northern ireland it'll be turning colder than that as we look at the forecast deeper into next week. showers increasingly wintry, some snow increasingly wintry, some snow in the forecast as well over some of the mountains to watch out for. we have some changes in weather fortunes but it is certainly looking back next week, the week before christmas will turn colder.

live from washington, this is bbc news. hungary has blocked billions in eu aid for ukraine, hours after european officials green light talks over ukraine's membership in the eu. the us urges israel to scale down its operation in gaza, even as the country's defense minister says its war with hamas could last "several" more months. and an unexpected guest causes delays for new york city commuters. i'm sumi somaskanda. thank you for joining us. hungary has blocked $55 billion in eu aid for ukraine, hours after an agreement was reached on starting membership talks. hungarian prime minister viktor

0rban posted on social media, after talks in brussels...