In the summer of 1992, as I was floundering between unwatchable Euro-pudding films and unwatchable low-budget miniseries, I was absolutely flabbergasted when my then-agent, a poisonous little madman, sent me a really good script. I thought there'd been a mistake. That had actually happened a few years earlier with another film, which was meant for Tom Cruise.
But he sent me this very good script, and it had a great part, and it was called Four Weddings and a Funeral. I went to the audition and, frankly, I was rather good.
And the only person who didn't want me, and in fact took such an instant and violent dislike to me, that he did everything in his power to stop me getting the part, was the writer. And it is this arsehole who we are going to honour tonight.
Four weddings really represented only about the halfway point of what was already a repulsively successful career. Pretty much everything that had been even remotely funny on British television in the preceding 15 years had either been written or co-written by this person.
But now he was choosing to refocus his massive brain and his not-at-all-clean and, in fact, broken national health glasses on writing film scripts.
但他再次带着他聪明的大脑,还有他那副脏兮兮,破破烂,免费领的眼镜,投身到电影剧本事业里去了。
First of all, he wrote Four Weddings. Then he wrote Notting Hill. Then he co-wrote Bridget Jones. And then he wrote Love Actually. And all of them were massive successes. Massive successes, despite, of course, having the wrong actor in one of the lead roles. I suppose it just shows you the quality of the writing. Well done.
He also, of course, went on to direct his own films, and you would think that given that most of his films were about love, that he would have been, or would have had as a directorial style, he would have been gentle and soft, perhaps loving. You would have been quite wrong. Forever etched on my heart are some of the notes he gave me, including, and now to a funny one. And don't worry, we can cut round you.
Anyway, while all this was going on, not content with saving the British film industry, he decided he also had to try and save the whole bloody world. Something I found annoying. Because there I would be in one of the lulls in my career because of some flop or some arrest or whatever.
And I'd be frankly desperate for Richard's next film and I'd be told I'm sorry he's away for a year in Africa saving starving children. I found that annoying and frankly selfish.
And then, of course, we all started getting roped into his fundraising. And I imagine that half this room includes some of his victims. Every two years, you'd come to dread the phone call, could you possibly put on this little red nose and, I don't know, mud wrestle with Colin Firth while Maggie Smith plays the bongos or something?
Or would it be alright if we filmed you having your buttocks waxed by Tony Blair? It was that sort of thing. And the answer was, you know, I did mind. It was awful. And it was relentless. It was a nightmare.
And in the end, I offered him an enormous check to just go away and never do it again. He never asked me again to do anything silly like that. A deal he accepted and then broke his word over and over and over again, which is in fact why I'm standing here before you tonight.
But I will say this, I am in fact delighted and of course honored to be here and to be giving you, Dickie, where are you? There you are, this Oscar. Would we call it an Oscar? It's a kind of Oscar, isn't it? It's a better than nothing Oscar.
Listen, I do... I love him very much. And I think that you and I need to do one more film before we get dragged and dropped to the great junk folder in the sky. I don't know what it could be. It could be four funerals and a wedding. It could be...Bridget Jones's diaper. But we should do something.
And meanwhile, here is a little film which is all about you, and in particular, it's about your goodness, which seems to be, like the great actress who we both so admired as young men, insatiable.