welcome to this cultural life, the series in which leading artists and performers talk to me about their most significant cultural influences and experiences. i am john wilson and my guest is oscar—winning actor nicole kidman who has been an international staff over 30 years now. i was really forward —— looking forward to meeting nicole in london, but even a superstar�*s travel plans and change. so we talked virtually. nicole kidman joining us from los angeles, welcome to this cultural life. thank you for having me. you were born _ thank you for having me. you were born in _ thank you for having me. you were born in hawaii _ thank you for having me. you were born in hawaii and moved to sydney with your australian families at the age of four. your father was a psychologist and biochemist. was it a creative upbringing? yeah, absolutely. _ creative upbringing? yeah, absolutely. as _ creative upbringing? yeah, absolutely. as much - creative upbringing? yeah, absolutely. as much as - creative upbringing? yeah, absolutely. as much as i i creative upbringing? yeah, i absolutely. as much as i grew up absolutely. as much as i grew up the daughter of a scientist who became a psychologist, i was also the daughter of a nurse educator, but they were both academics. but there was

an enormous love of the arts. i was both academics. but there was an enormous love of the arts. i was always both academics. but there was an enormous love of the arts. i was always taken both academics. but there was an enormous love of the arts. i was always taken to both academics. but there was an enormous love of the arts. i was always taken to the theatre, opera, symphonies, my mother loves opera.— mother loves opera. what are our mother loves opera. what are your earliest— mother loves opera. what are your earliest memories - mother loves opera. what are your earliest memories of - your earliest memories of favourite films? i your earliest memories of favourite films?— your earliest memories of favourite films? i would go to a lace favourite films? i would go to a place called _ favourite films? i would go to a place called the _ favourite films? i would go to | a place called the independent theatre which would show films, and we were all allowed to flop around on bean bags, they didn't have chairs, they didn't have seats, they had beanbags. and you are allowed to run around as kids. and you would watch a movie. and one of the first movies i remember seeing was a film called walkabout, which was an australian film. isn't that crazy? that is a very strong imprint cinematically, and then i would be taken to the theatre. and that was probably my first love, was theatre. rm are getting up on stage, i remember watching, you know, those outrageous, fun, funny

pantomimes, and that probably was some of my first desire is to be on stage.— to be on stage. where you a natural performer, - to be on stage. where you a natural performer, did - to be on stage. where you a natural performer, did you l natural performer, did you always want to act? i natural performer, did you always want to act?- natural performer, did you always want to act? i was very tall and very — always want to act? i was very tall and very pale _ always want to act? i was very tall and very pale and - always want to act? i was very tall and very pale and i - always want to act? i was very tall and very pale and i had . tall and very pale and i had read, curly hair, and covered in freckles. i would fit in through theatre and reading and... there was a shyness, and in eight shyness, but there was something i could do, which was act. and whenever i went to drama school i would be able to get up on stage and rena seen and havejust —— read a get up on stage and rena seen and have just —— read a scene and have just —— read a scene and have just —— read a scene and have a very intuitive understanding immediately. and that was where i was able to express myself, and i suppose in a way, shine. and so that became a place where i felt very comfortable.— became a place where i felt very comfortable. the first big influence you _ very comfortable. the first big influence you have _ very comfortable. the first big influence you have chosen - very comfortable. the first big influence you have chosen for| influence you have chosen for this programme is the filmmaker jane campion, best known for the piano and more recently the power of the dog. how did you meet jane power of the dog. how did you meetjane campion? i

power of the dog. how did you meet jane campion?— meet jane campion? i was in a little school _ meet jane campion? i was in a little school called _ meet jane campion? i was in a little school called the - little school called the philips street theatre, i would get up at about 6:30 a.m., catcha bus get up at about 6:30 a.m., catch a bus and train and another bus to get into the city. it was the highlight of my week. and jane was in film school, so she was really young and i remember being told "0h, and i remember being told "oh, this woman who is going to be directing a little film, student film, would like to see you". and i was like oh! oh my gosh, my gosh! and that was jane. we're talking a0 years later and i still her. and still deeply close to her, would tell her anything, will confide in her anything, and feel unbelievably safe with her. , , , ., ., feel unbelievably safe with her. , ., ., ., her. did she become a mentor to ou at her. did she become a mentor to you at such _ her. did she become a mentor to you at such a _ her. did she become a mentor to you at such a young _ her. did she become a mentor to you at such a young age? - her. did she become a mentor to you at such a young age? i - you at such a young age? i don't know ifjane is a mentor. jane is a very, is an exquisite creature, she is a creature, so she is... she isjust unusual. she became a guide, she became someone that i would go "what do you think?", and there were

times when we drifted and came back together, i remember auditioning for sweetie, i didn't get it, i remember auditioning for another one of herfilms, i didn't get it, and finally reported a lady came along, —— portrait of a lady. there is a documentary about the making of portrait of a lady, in which we see you as isabella archer, sobbing in between takes. jane campion is comforting you and keeping you in the moment. what's happening there? ., ., ~ in the moment. what's happening there? . ., ,, ., there? jane walk through it with you- — there? jane walk through it with you. she _ there? jane walk through it with you. she is _ there? jane walk through it with you. she is intense, i there? jane walk through it - with you. she is intense, shows she is in your eyes, she is with you, she will hold you... she will hold your hand, she will fill it with you. but she is still the director, so she is still the director, so she is watching and she is going, 0k, what can i do with this. i think i was incredibly young when i was working with her, i was very raw. and i think... just enormously trusting of

her. i5 just enormously trusting of her. , ,., , just enormously trusting of her. , , ., , her. is it sometimes really hard to step _ her. is it sometimes really hard to step out _ her. is it sometimes really hard to step out of - her. is it sometimes really l hard to step out of character when you finish shooting at the end of the day?— end of the day? yeah, it is sometimes, _ end of the day? yeah, it is sometimes, yeah. - end of the day? yeah, it is sometimes, yeah. and - end of the day? yeah, it is l sometimes, yeah. and there end of the day? yeah, it is - sometimes, yeah. and there is certain roles that require not stepping out. and there is certain roles where you can be far more... it happens more easily. i think i still grapple with how to do it. i would never say i am still, i am still learning, i will always be learning. and i would never say i am know what i'm doing. i don't mind not knowing everything, i don't mind not being in a place of leadership, i actually don't mind being in a place of, being a part of it. it is part of being an actor, because i always say as an actor you can't be a control freak. you have to be willing to give up control.— to give up control. jane campion _ to give up control. jane campion spotted - to give up control. jane campion spotted you . to give up control. jane - campion spotted you when to give up control. jane campion spotted you when you were ia years old, it was only four years later when you were

cast in dead calm, set in the middle of an empty ocean. didn't feel like a big break for you? didn't feel like a big break foryou? it didn't feel like a big break for ou? ., , didn't feel like a big break for ou? ., ., , ., for you? it was enormous, of those extraordinary - for you? it was enormous, of those extraordinary things i for you? it was enormous, of. those extraordinary things went out such a young age i was given these chances and these opportunities with these world—class filmmakers and writers. i was launched that way, i remember getting on a plane and going to america with dead calm and going, oh, wow! i got off the plane in new york and it was like... oh wow, this is the city that has broadway! your character is facing a really tumultuous and terrible situation, but maintaining this icy calm, the sense of control. something i think we have seen in many of the roles, many of the characters you have played. i don't know if it is icy calm, i don't know if it is icy calm, i would hope it is resilience, and it is the ability to find strength from within, when all the odds are against you. i mean, that is a really interesting thing as a human being. i have been in that place where i myself have not known i have had the strength,

not known i have had the fortitude to get through something, and kind ofjust by stepping forward every day, going in i never knew i had this in me. you know? which is a wonderful thing to play as an actor. , ., a wonderful thing to play as an actor. there is a psychological de th or actor. there is a psychological depth or tension _ actor. there is a psychological depth or tension or _ actor. there is a psychological| depth or tension or complexity to many of the characters you have played. do you draw any kind of link back to your father's work? as a clinical psychologist, do you think? i would say more my up and gave me the sense of being able to see through different lenses. i've notjudging, of the compassion that was in my household was deep. there was never thatjudgement in our household, where there was good and evil. it was always far more complicated than that. the next big cultural influence that you have chosen is filmmaker stanley kubrick. with whom you work on eyes wide

shut, the last film he made before he died. where you a big fan? . , ., before he died. where you a big fan? ., , ., ., before he died. where you a big fan? ., i. ., ., , fan? yeah, if you are a sinner file then _ fan? yeah, if you are a sinner file then he _ fan? yeah, if you are a sinner file then he is _ fan? yeah, if you are a sinner file then he is the _ fan? yeah, if you are a sinner file then he is the top. - fan? yeah, if you are a sinner file then he is the top. you i file then he is the top. you see philosophy, you see ideas, you see extraordinary filmmaking, and you see masterful command of his language. —— cinephile. and nothing is the same. every single one of his films, i mean, you would never predict what he was going to do next, and his knowledge wasjust abundant, and yet he was a mischievous kind of fun... extraordinary person to be around. so coming into my life at that time, wow. i mean, that wasjust at that time, wow. i mean, that was just a beautiful thing, at that time, wow. i mean, that wasjust a beautiful thing, to suddenly collide with him. which was the first film of his that you saw? aha, which was the first film of his that you saw?— that you saw? a clockwork orange- — 0range. laughs . which is like... mm, . which is like... by myself, i waned . which is like... by myself, i wagged school, _

. which is like... by myself, i wagged school, and - . which is like... by myself, i wagged school, and i - . which is like... by myself, i wagged school, and i went i . which is like... by myself, i. wagged school, and i went and saw clockwork orange, i didn't understand any other, i sat there with myjaw like what... and i was deeply disturbed. and they sort the shining and made out the shining, which says something about me, i had my first kiss in the shining, which isjust weird. i didn't see a lot of the shining, but yeah. it was my first, i can't believe i'm saying this, tongue kiss. i had a kiss on stage in spring awakening. so anyway! laughs fm laughs _ . i have seen the film laughs . i have seen the film aain . i have seen the film again and again. _ . i have seen the film again and again, but _ . i have seen the film again and again, but now - . i have seen the film again and again, but now i - . i have seen the film again and again, but now i am i and again, but now i am blushing. i saw a clockwork 0range, but i have seen a lot of the films, a lot of them i didn't understand, i saw them again, had them explained to me, have them explain by filmmakers, had them explained by... and you know, and by stanley. i mean, can you

imagine! can you imagine getting stanley, who hated being asked, about the films. i think the question that irritated him the most was "what does that mean?" and he would be like oh, please, don't ask me that. would be like oh, please, don't ask me that-— would be like oh, please, don't ask me that. eyes wide shut was ask me that. eyes wide shut was a psychological — ask me that. eyes wide shut was a psychological thriller, - ask me that. eyes wide shut was a psychologicalthriller, based i a psychological thriller, based on a 1926 novella and you are cast with your then husband tom cruise as a wealthy manhattan couple in a story about sex and infidelity and power and murder. why did you want to take on the role?— take on the role? why not? laughs . i remember the laughs . i rememberthe e—mails, they were faxes at that time actually, they were going back and forth and it was like, stanley kubrick is going to cast us in his film? it stanley kubrick is going to cast us in his film?- stanley kubrick is going to cast us in his film? it was so secretive — cast us in his film? it was so secretive and _ cast us in his film? it was so secretive and it _ cast us in his film? it was so secretive and it was - cast us in his film? it was so secretive and it was like i cast us in his film? it was so i secretive and it was like going into this kind of... other world. we didn't know we were going to be there for years. but i have always said, how great! i mean, i honestly would have shot that thing for five

years. i didn't care. i am with the greatest filmmaker, i'm with my husband, i've got my kids there, and we are working. wow! that is as good as it gets. when not working on trash, where working on extraordinary material. who cares how long it takes? 50 extraordinary material. who cares how long it takes? so you became personally _ cares how long it takes? so you became personally close - cares how long it takes? so you became personally close to i cares how long it takes? so you became personally close to himj became personally close to him as well? . . , , as well? yeah, and deeply enamoured _ as well? yeah, and deeply enamoured with _ as well? yeah, and deeply enamoured with him, i as well? yeah, and deeply enamoured with him, and| as well? yeah, and deeply i enamoured with him, and he is a professor. it was like, i was sitting on the floor at his office and reading books, and he had books everywhere and he had a sign saying "do not knock and do not come in", but i would ignore that.- and do not come in", but i would ignore that. you are allowed- — would ignore that. you are allowed- l— would ignore that. you are allowed. i was _ would ignore that. you are allowed. i was a _ would ignore that. you are allowed. i was a little i would ignore that. you are i allowed. i was a little wilful. i don't allowed. i was a little wilful. i don't think— allowed. i was a little wilful. i don't think he _ allowed. i was a little wilful. i don't think he minded, i allowed. i was a little wilful. i don't think he minded, as i j i don't think he minded, as i said he was mischievous. he died just _ said he was mischievous. he died just a — said he was mischievous. he died just a few days after completing the final cutting of eyes wide shut. that must have been a terrible shock for you. do you remember where you wear when you heard the news? absolutely. i was in new york,

and i... he had sent me a fax, and i... he had sent me a fax, and! and i... he had sent me a fax, and i had said, i left him a message saying i would call him in the morning. and when the phone rang, i thought it was stanley, and it was his assistant, leon. and leon said "stanley kubrick is dead" and i remember dropping the phone and screaming. screaming. and that was probably my first encounter with death, where it comes and it person you love is taken that quickly. and it doesn't seem real. and it was... horrendous.— seem real. and it was... horrendous. �* ., ., ~ horrendous. but having worked with him so _ horrendous. but having worked with him so intensely, - horrendous. but having worked with him so intensely, what i horrendous. but having worked with him so intensely, what do | with him so intensely, what do you think was the lasting legacy of stanley kubrick on the work that you have done since? . �* , . the work that you have done since? ., �*, ., �* , since? that it's art. don't be frightened — since? that it's art. don't be frightened of _ since? that it's art. don't be frightened of that, _ since? that it's art. don't be frightened of that, that i since? that it's art. don't be frightened of that, that it's i frightened of that, that it's important. his pursuit of excellence with it, and his... his, his lifetime dedication to it, i has had an enormous impact on me. do

it, i has had an enormous impact on me.— it, i has had an enormous impact on me. do you ever, nicole, — impact on me. do you ever, nicole, when _ impact on me. do you ever, nicole, when you _ impact on me. do you ever, nicole, when you are - impact on me. do you ever, nicole, when you are faced| impact on me. do you ever, i nicole, when you are faced with a difficult career decision, think, what would stanley do? yes, but i remember when i was doing the blue room and i was on stage and i chose to do a play at warehouse, i remember inviting stanley to come and see it. i had him read the... it back to me, going "i can't read it. and i was like oh no, he doesn't like it. and ijust remember, he didn't want me to use him as a guide or a judge. because i think he was so, had such a high bar. everything wasn't going to be good. you know? so he didn't want to be that for me, but he came and saw me on stage in the blue room. that is a huge thing for stanley. there is a photo somewhere, i don't have it, i would love someone to find it for me of him leaving the theatre, but it is so touching to me that he came, because

thatis to me that he came, because that is such a huge offering from him. and he came and he saw me. i can't remember what he said, ijust remember "stanley is in the audience!". i think it's really important that the blue room is something that the blue room is something that you've chosen, being on stage in london in 1998 but interesting like eyes wide shut it is adapted for a work by arthur schnitzel and is not a coincidence? it is?— coincidence? it is? yes! if there is— coincidence? it is? yes! if there is such _ coincidence? it is? yes! if there is such things i coincidence? it is? yes! if there is such things as i there is such things as coincidences. 0r there is such things as coincidences. or it was meant to be. but yeah, isn't that crazy? but it was, yeah. and when sam said to me, and patrick... when sam said to me, and patrick. . .— when sam said to me, and i patrick. . ._ yes, patrick... sam mendes is? yes, he said to _ patrick... sam mendes is? yes, he said to me — patrick... sam mendes is? yes, he said to me hold _ patrick... sam mendes is? yes, he said to me hold on, - patrick... sam mendes is? yes, he said to me hold on, that's i he said to me hold on, that's just totally weird. but what was so just enthralling about that was that sam believed i could play the five different characters and that was like, you know, as an actor, i was

like oh, wow! play all of them? 0k, like oh, wow! play all of them? ok, that's kind of exciting. 0n ok, that's kind of exciting. on stage? well, yeah. i look back at matt and i think, and i wasn't that scared. i didn't have stage fright to the degree i had it when i did photograph 51 which i've now learned a lot of actors get the stage fright becomes more intense as you get older. so i'm one of those people. it older. so i'm one of those people-— older. so i'm one of those --eole. ., , , ., people. it was in a very small london theatre, _ people. it was in a very small london theatre, a _ people. it was in a very small london theatre, a 2-hander i people. it was in a very small i london theatre, a 2-hander with london theatre, a 2—hander with ian glenn and a really exposing role both physically and emotionally.— role both physically and emotionall . , ~ ., emotionally. did it feel like a risk? it felt _ emotionally. did it feel like a risk? it felt like _ emotionally. did it feel like a risk? it felt like an _ emotionally. did it feel like a risk? it felt like an amazing i risk? it felt like an amazing chance, but what i was back in sydney and i think i've approached my whole career this way. ifeel like i'vejust come out of, you know, the phillip street theatre and i'm like oh, wow, this is a great chance! yes, let's try this! because i don't overthink stuff until i minute and then i'm like, yikes, what have i done? i've got to run for the hills. and

ljy got to run for the hills. and by then, you're not allowed out. and i'm sort of well—known now for going i've got to get out of this, i'm not going to be able to deliver for you, help, help! it be able to deliver for you, help. help!— be able to deliver for you, help, help! it was 17 years i think until _ help, help! it was 17 years i think until you _ help, help! it was 17 years i think until you were - help, help! it was 17 years i think until you were back. help, help! it was 17 years i | think until you were back on stage with photograph 51 and also, in london. what have you not done more theatre, do you think? i not done more theatre, do you think? ., ., ., ~ �* , think? i am a mother. and it's very difficult. _ think? i am a mother. and it's very difficult, as _ think? i am a mother. and it's very difficult, as a _ think? i am a mother. and it's very difficult, as a mother, i. very difficult, as a mother, i find, to do the eight shows a week and to not be there at bedtime. that has been a big... when i did photograph 51, it was a big commitment from me to come to london, move my family to london, my husband has a big career, you know, i didn't think it all through, you are going to have to sell tickets on the west end about a play about science with a woman that no—one has ever heard of and... i remember when the ticket sales at the beginning, i was like... and people was a lot of looking worried and i was like a they not selling? and this

was before it opened. and they are like yeah, it's ok, the cubital secret from you because they don't want you to lose complete faith. we were so lucky, and this is where you go thank you to the critics, because the critics came out in incredible support of the play and the tickets sold. and suddenly, it was sold out and you couldn't get a ticket. but i think if we'd been crucified, the play would have, you know, we wouldn't have made it because they certainly weren't selling. but it's so great doing theatre. it's so fun. when it works, it works. there's nothing like it. and your immediate, and that's something i discover doing it again, was this relationship with an audience that is so immediate and so direct. when the audience claps and cheers, there's so much gratitude as an actor because you're like i've given you what i can give you and you received it. thank you. just interestingly, back to the blue room though because that

was an adaptation of lauren by schnitzer by david hare and shortly after that, you were working on another david hare adaptation and it was the hours. and you were playing virginia woolf. what did you learn? i virginia woolf. what did you learn? ., ., ., learn? i mean, david hare gave me one of _ learn? i mean, david hare gave me one of the _ learn? i mean, david hare gave me one of the greatest - me one of the greatest monologues, you know, about choice, and it is my choice. i still know those words. and deeply believe in them, may i add. it is my choice as a human being. add. it is my choice as a human beinu. ., . ., . ., add. it is my choice as a human beinu. ., . ., , being. your next choice, a big turnin: being. your next choice, a big turning point— being. your next choice, a big turning point in _ being. your next choice, a big turning point in your - being. your next choice, a big turning point in your career, i turning point in your career, and you've already mentioned it, is baz luhrmann's musical moulin rouge. why have you chosen that?— moulin rouge. why have you chosen that? . ., ., ., chosen that? once again, took a massive chance _ chosen that? once again, took a massive chance with _ chosen that? once again, took a massive chance with me. - massive chance with me. believed i could sing and dance and act in the same film. gave me satine who ijust became and

loved and people still think i am and gave me that and i watched the film and i was like i can't believe i made that. i'm so happy that exists. i'm so happy i got to be satine. and i got to do it with ewen and i have magical memories of it and baz is magical... you -la ed it and baz is magical... you played satine _ it and baz is magical... you played satine the _ it and baz is magical... you played satine the consumptive courtesan opposite ewan mcgregor as the struggling writer. was it the first time you had sung professionally? i had sung a drama school when i would go to the little wing in drama school. i was never that good. i always had friends who could belt it out and i was ever a belt about baz, and i went and auditioned for him, he had the audition with the song # nobody does it better. that son: , # nobody does it better. that song. which — # nobody does it better. that song, which is _ # nobody does it better. that song, which is not _ # nobody does it better. that song, which is not in - # nobody does it better. that song, which is not in the i song, which is not in the movie, and i remembersort song, which is not in the movie, and i remember sort of acting singing it. and baz

onset as a director, what did you take away from him? he’s onset as a director, what did you take away from him? he's an actor. you take away from him? he's an actor- he — you take away from him? he's an actor. he started _ you take away from him? he's an actor. he started as _ you take away from him? he's an actor. he started as an _ you take away from him? he's an actor. he started as an actor. - actor. he started as an actor. so he can act it. so, you're getting that support. where he understands the actual process, he understands how to get you there. and he is very... you know, but then he will shape it. and he's also very visual. isn't it true that you broke a couple of ribs during the shooting this movie? yeah, i fell and i _ shooting this movie? yeah, i fell and i broke _ shooting this movie? yeah, i fell and i broke a _ shooting this movie? yeah, i fell and i broke a thing - shooting this movie? yeah, i fell and i broke a thing but i fell and i broke a thing but you know they gave me the time and i was able to heal and onward, you know, which is i think part ofjust i don't have a sense of my own physicality a lot of time so i will take risks and then i'm like i've got to be careful! so my sense of what i want to do physically, i sometimes can't live up to what i want to do physically. you know? iwish live up to what i want to do physically. you know? i wish i could fly! so, you have this idea that you're capable of way more physically than you actually are. i mean, i have a

quite fragile body, i think that's part of even as an actor sometimes emotionally, i forget the fragility. protecting out and being careful is part of my lifelong lesson.— lifelong lesson. working in this all singing _ lifelong lesson. working in this all singing all - lifelong lesson. working in this all singing all dancing | this all singing all dancing musical with baz luhrmann, did it change your own idea about what you are capable of as an actor? do you think?- what you are capable of as an actor? do you think? yes. yes. pushed me- — actor? do you think? yes. yes. pushed me. i'm _ actor? do you think? yes. yes. pushed me. i'm not _ actor? do you think? yes. yes. l pushed me. i'm not necessarily running outgoing i want to do another musical. but yeah, it pushed me into places i didn't even know i was capable of going, which is what has happened on the lucille ball film as being the ricardos i was like i mean, physical comedy, that is so hard. i did a tiny bit of it in mill en route. when i did the on the

floor going —— moulin rouge. and that was improvised and so fun so there was comedy in that but lucy's physical comedy is clown. i mean, it's broad and extraordinary and she created all of that and it was like oh! and my absolute, like, i cannot believe what she did. and how she could get a laugh, and she would do anything for a laugh, and how wonderful that is. releasing into physical comedy that way. it's so fun. but releasing into physical comedy that way. it's so fun.— that way. it's so fun. but with a character like satine, - a character like satine, you're creating, you're creating a character from scratch with virginia woolf you're interpreting it. with lucille ball, it has to be more of an impersonation, i guess, doesn't it? ., ., impersonation, i guess, doesn't it? i, i, ,, , impersonation, i guess, doesn't it? i, i, ,, y , it? no, no. study herbert aaron sorkin was— it? no, no. study herbert aaron sorkin was adamant _ it? no, no. study herbert aaron sorkin was adamant it _ it? no, no. study herbert aaron sorkin was adamant it was - it? no, no. study herbert aaron sorkin was adamant it was not l sorkin was adamant it was not to be an impersonation. he said he did not want an impersonation. in

he did not want an impersonation. he did not want an imersonation. . , ., , impersonation. in recent years ou've impersonation. in recent years you've become _ impersonation. in recent years you've become a _ impersonation. in recent years you've become a producer- impersonation. in recent years you've become a producer and| you've become a producer and have brought us the big little lies and the undoing and nine perfect strangers. did you have any ambition to directors well? no. ., ., ., no! any ambition to directors well? n0-_ n0! n0- - any ambition to directors well? no._ no! no. i- any ambition to directors well? no._ no! no. i lovel no. not at all? no! no. i love bein: no. not at all? no! no. i love being an _ no. not at all? no! no. i love being an actor. _ no. not at all? no! no. i love being an actor. as _ no. not at all? no! no. i love being an actor. as i _ no. not at all? no! no. i love being an actor. as i said, - no. not at all? no! no. i love being an actor. as i said, i - being an actor. as i said, i don't have the... i don't have the control. i don't want to make the big decisions? i want to be part of the group. i don't want to be the leader. i'm happy to be in the group. i don't want to be the director. really? but i ask that, nicole, because you've worked with so many great independent directors. i many great independent directors-_ many great independent directors. ., directors. i want to support them. directors. i want to support them- i'm _ directors. i want to support them. i'm happy _ directors. i want to support them. i'm happy to - directors. i want to support! them. i'm happy to support them. i'm happy to support them. i'm happy to support them. i love to support them. i want to find them, i want to support them, i want them to have the chance to do their work. �* . , have the chance to do their work. �* ., , g ., work. but having seen jane champion _ work. but having seen jane champion or _ work. but having seen jane champion or anne - work. but having seen janel champion or anne mackellar work. but having seen jane - champion or anne mackellar or lars von trier at close hand, you don't think you could take what you've seen them what

you've experienced and then reinterpreted?— you've experienced and then reinterpreted? ho. you really reinterpreted? no. you really don't want — reinterpreted? fir: you really don't want to direct, do you? reinterpreted? no. you really| don't want to direct, do you? i believe a director is a director.— believe a director is a director.- they | believe a director is a - director.- they want to. director. right. they want to. i'm what _ director. right. they want to. i'm what you _ director. right. they want to. i'm what you get, _ director. right. they want to. i'm what you get, my - director. right. they want to. | i'm what you get, my daughter right now. i'm watching her. she only wants to be a director. that's all she wants to do. she is obsessed with being a director. and i do believe the great directors, that's what they do. so i just... that's not for... i want to be an actor. i am open. i am always ready to go on the nextjourney. i cannot believe i still have the passion for that. because i've been working since i was 14. so, if ever there was a reason to believe that it's in your blood, it's just in my blood, and i do say it's not a choice. i've tried did not do this. and i actually

just keep coming back to it. it is, it keeps me sane. it's my path. it's my voice. it's how i express myself and it's how i'm part of this world.— part of this world. nicole kidman. _ part of this world. nicole kidman, thank— part of this world. nicole kidman, thank you - part of this world. nicole kidman, thank you very l part of this world. nicole - kidman, thank you very much indeed. . ~ kidman, thank you very much indeed. ., ~ , ., for podcast episodes of this cultural_ for podcast episodes of this cultural life go to bbc sounds or wherever you get your podcaster. hello there. after what we had on friday, it's hard to believe that this june could be the warmest on record. across north yorkshire, temperatures were around 16 degrees in the afternoon. some other parts of the country were colder still.

we're going to find more sunshine, though, over the weekend the start ofjuly in this clearest slot with the thicker lower cloud moving away, taking the rain away as well. we're going to be left with a north—south split with sunnier, with the warmer weather in the south, the showers continuing further north, and we will have stronger winds as well. it could be a cloudy start for many but we'll see the showers in the midlands, the south—east moving away. sunnier skies developing in the south but sunshine and showers will continue in northern ireland, scotland and also northern england. frequent showers in the north and west of scotland, where it will be quite windy. it may feel rather chilly but we could make 18 degrees this time in scotland and northern ireland, 23 or 2a in the south, so a bit warmer than it was on friday. and for the cricketers, well, there could be one or two showers left over for the start of play, otherwise it looks like it will be dry with some sunshine. a little bit breezy out there, mind you. and the winds, if anything, are coming back all the way from iceland and greenland, so it will never be particularly warm. and that low pressure sitting close

to scotland will keep it windy and wet in the far north of the mainland. more showers, though, to come on sunday across other parts of scotland. the odd one continuing in northern ireland and england. but for wales and the midlands, southern england, it should be a dry day. plenty of sunshine here. the winds may not be quite as strong on sunday but, if anything, those temperatures could actually be a degree or so lower. now, heading into the beginning of the new week and that low pressure heading towards scandinavia keeps some windy weather, though, going across scotland. that weather front continuing to feed rain into northern scotland. more showers coming into the rest of the country. and while england and wales may start dry, northern ireland, too, we could see some showery rain moving in from the west and that could arrive later on in the day at swi9 for the start of wimbledon, where temperatures will be around 2! degrees, so not a particularly warm start to the week ahead. it will take a while for the temperatures to rise — they may not rise a great deal, mind you —

and it is still unsettled over the week ahead with showers and longer spells of rain particularly in the north and the west.

this programme is live captioned by red live from washington, this is bbc news. another night of unrest in france, and hundreds of arrests after the police killing of a teenager at a traffic stop. plus, two rulings from the us supreme court that will have a major impact on americans — including a move to block president biden's plan to forgive student loan debt. i know there are millions of americans, millions of americans, millions of americans in this country who will be disappointed and discouraged, even a little bit angry at the court's decision today on student debt. and i must at'nit i do too. today on student debt. and i must at the do too. today on student debt. and i must at the court's. today on student debt. and i must at the court's decision angry at the court's decision today on student debt. and i today on student debt. and i must admit i do too. must admit i do too.