March 28, 2026 • 15 mins
British newcomer Robert Aramayo was the talk of this year's BAFTA awards after he walked away with the Best Actor victory.
The leading role that saw him beat out Leonardo DiCaprio, Timothee Chalamet, and Michael B. Jordan was his depiction of Scottish Tourette’s campaigner John Davidson in I Swear.
Robert Aramayo and director Kirk Jones explained why it was important to tell Davidson's story in the most authentic way.
"I think it was a shared responsibility, really. We all felt that we wanted to make a good, authentic version of his life."
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Speaker 1 (00:06):
You're listening to the Sunday Session podcast with Francesca Rudkin
from News Talks EDB.
Speaker 2 (00:12):
Brittish newcomer Robert Aramia was the talk of this year's
Bafter Awards. Robert was nominated for Lead Actor against a
cast of Hollywood heavyweights Leonardo DiCaprio, Timothy shaller May, Michael B. Jordan.
He was a complete underdog, but he won. His best
active victory was for the film I Swear, when Robert
depicts pioneering Scottish Tourette's campaigner John Davidson.
Speaker 3 (00:35):
You're key with a text in this week, texts, well,
we need to.
Speaker 2 (00:39):
Get your mane.
Speaker 4 (00:40):
I can see after.
Speaker 1 (00:47):
I don't think Tourette's is the problem. People not knowing
that Trette's as the problem educate numb.
Speaker 2 (00:58):
It's a good flick, a real crowd pleaser. It's honest
and brutal at times, but also very funny and compassionate.
Robert is incredible in it, very deserving winner of the Beet.
Lead Actor Robert Aramio and director Kirk Jones with me now.
Speaker 4 (01:12):
Good morning, good morning, good morning.
Speaker 2 (01:15):
Thank you so much for being with us. Kirk, Can
I start with you? How did you first discover John
Davidson and here about his story.
Speaker 4 (01:24):
It has to be through the very first documentary there
was about John, which is called John's Not Mad. It
was about thirty years ago. When I sat down four
years ago to think about my next film, I remembered it,
and if I'm honest, I don't think i'd ever forgotten it.
There were three documentaries in total throughout his life, and
(01:45):
I always I wasn't a writer and I wasn't a
director in nineteen eighty nine, but I just knew that
there was a great story there, at least that there
was a great story starting in a very interesting journey,
and I wanted to know more about John. And despite
the fact there were three documentaries, I really felt that
there was, you know, the opportunity to deliver a full
(02:09):
length feature film which brought John's story up to date
and really showed what an extraordinary, you know, tragic, emotionally engaging,
but also really humorous journey he'd been on through throughout
the last thirty years of his life.
Speaker 2 (02:28):
When you're very much captured all that, Robert, what challenges
come with playing a character like this. I mean, obviously
you're handling someone's personal story, but you're also depicting something
like Trette's.
Speaker 3 (02:40):
M yeah, yeah, yeah, yeah yeah. Big challenges, yeah, lots
of big challenges. I think that we all felt a
sort of collective responsibility really on the set, all of us,
everyone about John's life and John's story. We were constantly
sharing stories on the set that we'd had, you know,
(03:01):
because everybody, you know, a lot of people met John
either because they went to Gallas Shields or that met
him when he came to shooting or something like that.
So everybody had felt like they had some I think
some sort of personal connection with John, understood him to
a degree, and and so we're passionate about telling his
story in the most authentic way really. So uh yeah,
(03:24):
So I think it was a shared responsibility. Really, We
all felt that we just wanted to make a good,
you know, the good, authentic version of his life, and.
Speaker 2 (03:34):
That you did. Did you know much about Turrettes before
you started shooting, before you took on this role?
Speaker 3 (03:39):
No, No, I didn't. I think I would say I
had a very two dimensional view of Tourette's and you know,
like a like a very sort of basic understanding and
what it was. Very quickly though, as I learned as
much as I could about about it and obviously about
how John lives with it, and what John's ticks historically
(04:01):
had been, and and you know, because everybody with Tourette's
is different largely, and also that the other conditions that
they live with are different as well. So yeah, so
I just learn as much as I could, as quickly
as I could, And most of that came from John,
but a lot as well from other people with incredible
(04:21):
story as well. I was very fortunate to meet and
learn from.
Speaker 2 (04:24):
So you spend quite a bit of time with John.
Speaker 3 (04:26):
Yeah, yeah, Yeah, as much time as I could really,
which is great because he's such a great guy and
you know, he's you know, he's got an amazing sense
of humor, and he's got a great life in Gala
Shields and you also, you know, dott is there and
you know, like there's like as it was, it was
a really amazing time for me and just reinforced I
think how how important it was to tell his story
(04:50):
in this way, because in a film you just get
the chance to show maybe maybe different different sides of
what it is just to be a human. Then you're
doing a documentary. That's why the two things are different,
So it's like I was really excited to show different
different sides of him and stuff.
Speaker 2 (05:05):
I think most of us probably hid the same knowledge
that you had before you started this film when it
comes to eats, We sort of have this generalized view
of what it is. What surprised you the most is
you got to know John, and you sort of got
a bit of understanding of the syndrome and sort of
the challenges that that gives somebody who is living with it.
Speaker 3 (05:24):
The individuality of that, I think the singularity of it
really that you know that it's like that there are
some people who live with tourets who have ticks that
you don't see, you know, that that don't present in
a sort of visible way, you know, or ticks that
people have that people think of something else, you know.
(05:45):
I think that was one of the first things that
really surprised me, that there is an element of confusion,
you know, in the initial sense of meeting somebody with
Tourette's as to sometimes as to what condition they're actually
living with. So, like, you know, that was like that
was a big eye opening moment for me because it's
so singular to the person.
Speaker 2 (06:03):
You're incredible in this film, Robert, are you sick of
people telling you that you?
Speaker 3 (06:07):
Oh well, I mean that's nice of you to say that,
thank you.
Speaker 2 (06:11):
No, no, no, look at Kirk's having a little giggle. No,
you really are. The two of you work quite collaboratively
in developing John scrubs.
Speaker 4 (06:21):
Yeah, I think. Uh, you know, I wrote the script
before any casts were involved, and that contained things like
tics and physical tics, of verbal tics and physical tics.
But as with all writers, or as with all directors,
(06:41):
you come to a point where the priority is to
get ready to start filming. So I was. I was casting,
I was looking at locations, and that was around about
the time that Rob came to Glas Shields and started
working with John. Probably ever a period of about two
or three months, and we stayed in contact pretty much daily.
I would say, so, you know, Robert, i'd get a call,
(07:03):
you know, I've been looking for locations all day and
I get a call from Robin and he says, you know,
did you know that John kissed lampposts? And I said
I didn't know that now he said, yeah, he kisses them,
you know, if they're not straight, if they're the wrong color.
And I said, well, you never told me that, and
I'd said that went straight in the script. And I
(07:23):
think one of the things that Rob brought, especially in
the early days, was Rob kept saying to me, we
have to make sure that we include everything that relates
to Tourette's because first of all, you know, you'll hear
people say if you meet one person with Tourettes, you've
(07:44):
only met one person with thurettes. Everyone is completely different. Secondly,
it's very rare or people will actually say you will
never meet anyone just with Tourettes, that they have comorbid conditions,
they have levels of autism, ADHD, o c D, high anxiety,
intrusive thoughts. So Rob in particular kept giving me I
(08:11):
won't say a hard time, but he just kept reminding
me saying, you know, we got we've got to show
the OCD, We've got a show, and putting the finger
under the ketel. And so he would he would tell
me about that, and I think, well, how am I
going to get that in? And then okay, then we
got it in. But Rob and I worked together because
any information that Rob had, any information that John or
(08:31):
anyone had, I would I was, you know, more than
happy to listen to and if possible, get it into
the script, because all I wanted to do was serve
John and serve the condition as well. So I think
it's fair to say that, you know, there were no ego, Sorry,
there were no egos at work. It was it's like,
let's gather everything and do the very best job we
(08:55):
can for John Cook.
Speaker 2 (08:57):
When you have two actors playing a character, Sir Scott
Ellis Watson does a beautiful job as well playing the
young John, and then Robert comes in. Do do you
get those two actors together at all to work on
the character? Is to make sure that there's sort of
some continuity that I've always wondered that when you've got
you go from young to old in a film.
Speaker 4 (09:14):
I think sometimes it would be justified. It was discussed
at the time. I was keen that Rob and Scott
spent some time to each other or with each other
away from the set, just so that they got to
know each other, even though they weren't in the same
scene together. And when we realized that both young John
and adult John would have to fly fish, we organized
(09:37):
an afternoon which was great. So John Davidson was there,
Scott was there, I was there, Rob was there. Suki
the dog was there, you know, and we were all
by the river. But that was really just to help
Scott in particular, familiarize himself with Rob and John, and
you know, because he'd never acted before Scott at all.
(09:58):
But with regards to working together, I think the young John,
and if we say that Rob's when Rob first appears,
he's in his early twenties. As John Davidson. John Stretts
had developed so much in those kind of eight years,
nine no, sorry, thirteen years, that really there wasn't any
(10:19):
point in them spending time together saying, oh, this is
how John ticks with his arm. This is you know,
young and old John. There were no real similarities. So
for that reason, I think it was easier for Rob
to focus on adult John and Scott to focus on
young John. And remembering that, you know, we had an
(10:41):
incredible opportunity to look back on the documentaries that had
been made about John. So when Scott said to me,
you know, you know, what was John like when he
was fourteen, or even when he said to John, what
were you like when you were fourteen? We both said,
just look at the documentary. There's an hour long documentary
there that's John when he was fourteen. So Scott. Scott
(11:03):
found that very reassuring. And it's very unusual that you
have questions from a character as a director and you
just say, don't ask me, just look at the documentary.
Speaker 2 (11:12):
Just go do your homework. Yeah, Cook, Is it true
that you sold the family home to completely finance this film?
Speaker 4 (11:24):
Not quite, but very very close. My wife and I
had sold our house of twenty years. We moved to
a different part of the country and we decided to
rent in the short term. And while we were renting,
so while we were you know, literally had every penny
that I'd ever earned in a thirty year career was
(11:45):
sitting in the bank ready for our next house, as
is normal. I wrote the script and I was very worried,
and with good reason. We only had one meeting that
people would want to soften it, they want to done it.
Then they would want to reduce the swearing, and I'd
promised John that I wouldn't let that happen. I promised
John that I would tell an honor version of the script,
(12:07):
and I promised myself, you know, when you've been making
films for thirty years, you do not want to constantly
be taking notes from people, softening stuff, dumbing it down,
not only for my you know, for my reasons, but
people forget that. You then have to pass those onto
the cast because the person or persons that are paying
(12:28):
for a production will say, I want less swearing, So
then you have no option but to reduce the swearing.
And then Rob says to me, and Peter Mullen says
to me, well, why are you taking out the swearing,
And I have to say, well, that's how it is.
We have to do it. I have to do it.
So I didn't want any of that. I wanted complete
creative freedom. So I decided the only way to do
(12:49):
it was to ask the bank if they would lend
the money for the film, based on the fact that
they had everything we had already, and at that point
I hadn't asked my wife. So I asked her one
evening and literally she said, if you feel strongly about
it and passionately about it, then let's do it. And
we never had an argument, we never had a discussion.
(13:10):
I filled out many forms for the bank to make
it happen, and that was it. And every night I
came home from a set and I would go into
my apartment, sit down and literally think, I am so
glad that we did that. I had not once and
still even though we've not seen anything come back yet,
not once have I had any regret over that. I
(13:31):
was so grateful that we literally bought our creative freedom.
Speaker 2 (13:39):
Robert, you won at Befter for this. You're up against
Leonardo DiCaprio, Timothy Schalla, May Michael B. Jordan for lead Actor.
What goes through your head when your name's called out?
Speaker 3 (13:49):
Oh, I mean shock, so much shock, because I'd won
the Rising Star Award and I couldn't believe that. I
felt so unbelievably honored by that, and so I was
still so of like processing that and what just happened.
I can't believe that this just happened. And you know,
(14:12):
like I was really honored to be in that category,
but I didn't ever think that I was going to
win it. So then when they said my name, I
just honestly could not believe it. I really really couldn't
believe it. So it was, you know, it was it
was a lovely, lovely on their acknowledgment. But obviously the
main thing that you hope from all of this stuff
is that people just watch the film more, that they
(14:34):
go on Google Touretts or John Davidson and learn learn
more about his life, you know. So it's you know,
I feel like the whole bafter thing led people to
watching the watching the film more, you know, like getting
nominated and stuff.
Speaker 2 (14:49):
Because I mean, you have been part of some very
big shows that a lot of the rings in Game
of Thrones. Where does this film sit for you sort
of within your body of work? How special is it
to you?
Speaker 3 (15:00):
I mean, the biggest challenge and you know, certainly, and
I feel so so passionate about his story, and I
don't know, I just think when you meet John, you
just feel like you really just want to do you know,
you wanted, you wanted, you want to do a good
job for him because he's because he's such an incredible man.
(15:21):
So you know, I just feel glad that people seem
to be watching it and enjoying it, and I feel
really lucky to be a part of it.
Speaker 2 (15:30):
Robert, thank you so much for the incredible for months, Kirk,
for the absolutely beautiful film. Really appreciate your time this morning.
Thank you, Thank you. That was director Cook Jones and
lead actor Robert Aramayo. The film I Swear is in
cinemas now.
Speaker 1 (15:46):
For more from the Sunday Session with Francesca Rudkin, listen
live to news talks it'd be from nine am Sunday,
or follow the podcast on iHeartRadio
You're listening to the Sunday Session podcast with Francesca Rudkin
from News Talks EDB.
Speaker 2 (00:12):
Brittish newcomer Robert Aramia was the talk of this year's
Bafter Awards. Robert was nominated for Lead Actor against a
cast of Hollywood heavyweights Leonardo DiCaprio, Timothy shaller May, Michael B. Jordan.
He was a complete underdog, but he won. His best
active victory was for the film I Swear, when Robert
depicts pioneering Scottish Tourette's campaigner John Davidson.
Speaker 3 (00:35):
You're key with a text in this week, texts, well,
we need to.
Speaker 2 (00:39):
Get your mane.
Speaker 4 (00:40):
I can see after.
Speaker 1 (00:47):
I don't think Tourette's is the problem. People not knowing
that Trette's as the problem educate numb.
Speaker 2 (00:58):
It's a good flick, a real crowd pleaser. It's honest
and brutal at times, but also very funny and compassionate.
Robert is incredible in it, very deserving winner of the Beet.
Lead Actor Robert Aramio and director Kirk Jones with me now.
Speaker 4 (01:12):
Good morning, good morning, good morning.
Speaker 2 (01:15):
Thank you so much for being with us. Kirk, Can
I start with you? How did you first discover John
Davidson and here about his story.
Speaker 4 (01:24):
It has to be through the very first documentary there
was about John, which is called John's Not Mad. It
was about thirty years ago. When I sat down four
years ago to think about my next film, I remembered it,
and if I'm honest, I don't think i'd ever forgotten it.
There were three documentaries in total throughout his life, and
(01:45):
I always I wasn't a writer and I wasn't a
director in nineteen eighty nine, but I just knew that
there was a great story there, at least that there
was a great story starting in a very interesting journey,
and I wanted to know more about John. And despite
the fact there were three documentaries, I really felt that
there was, you know, the opportunity to deliver a full
(02:09):
length feature film which brought John's story up to date
and really showed what an extraordinary, you know, tragic, emotionally engaging,
but also really humorous journey he'd been on through throughout
the last thirty years of his life.
Speaker 2 (02:28):
When you're very much captured all that, Robert, what challenges
come with playing a character like this. I mean, obviously
you're handling someone's personal story, but you're also depicting something
like Trette's.
Speaker 3 (02:40):
M yeah, yeah, yeah, yeah yeah. Big challenges, yeah, lots
of big challenges. I think that we all felt a
sort of collective responsibility really on the set, all of us,
everyone about John's life and John's story. We were constantly
sharing stories on the set that we'd had, you know,
(03:01):
because everybody, you know, a lot of people met John
either because they went to Gallas Shields or that met
him when he came to shooting or something like that.
So everybody had felt like they had some I think
some sort of personal connection with John, understood him to
a degree, and and so we're passionate about telling his
story in the most authentic way really. So uh yeah,
(03:24):
So I think it was a shared responsibility. Really, We
all felt that we just wanted to make a good,
you know, the good, authentic version of his life, and.
Speaker 2 (03:34):
That you did. Did you know much about Turrettes before
you started shooting, before you took on this role?
Speaker 3 (03:39):
No, No, I didn't. I think I would say I
had a very two dimensional view of Tourette's and you know,
like a like a very sort of basic understanding and
what it was. Very quickly though, as I learned as
much as I could about about it and obviously about
how John lives with it, and what John's ticks historically
(04:01):
had been, and and you know, because everybody with Tourette's
is different largely, and also that the other conditions that
they live with are different as well. So yeah, so
I just learn as much as I could, as quickly
as I could, And most of that came from John,
but a lot as well from other people with incredible
(04:21):
story as well. I was very fortunate to meet and
learn from.
Speaker 2 (04:24):
So you spend quite a bit of time with John.
Speaker 3 (04:26):
Yeah, yeah, Yeah, as much time as I could really,
which is great because he's such a great guy and
you know, he's you know, he's got an amazing sense
of humor, and he's got a great life in Gala
Shields and you also, you know, dott is there and
you know, like there's like as it was, it was
a really amazing time for me and just reinforced I
think how how important it was to tell his story
(04:50):
in this way, because in a film you just get
the chance to show maybe maybe different different sides of
what it is just to be a human. Then you're
doing a documentary. That's why the two things are different,
So it's like I was really excited to show different
different sides of him and stuff.
Speaker 2 (05:05):
I think most of us probably hid the same knowledge
that you had before you started this film when it
comes to eats, We sort of have this generalized view
of what it is. What surprised you the most is
you got to know John, and you sort of got
a bit of understanding of the syndrome and sort of
the challenges that that gives somebody who is living with it.
Speaker 3 (05:24):
The individuality of that, I think the singularity of it
really that you know that it's like that there are
some people who live with tourets who have ticks that
you don't see, you know, that that don't present in
a sort of visible way, you know, or ticks that
people have that people think of something else, you know.
(05:45):
I think that was one of the first things that
really surprised me, that there is an element of confusion,
you know, in the initial sense of meeting somebody with
Tourette's as to sometimes as to what condition they're actually
living with. So, like, you know, that was like that
was a big eye opening moment for me because it's
so singular to the person.
Speaker 2 (06:03):
You're incredible in this film, Robert, are you sick of
people telling you that you?
Speaker 3 (06:07):
Oh well, I mean that's nice of you to say that,
thank you.
Speaker 2 (06:11):
No, no, no, look at Kirk's having a little giggle. No,
you really are. The two of you work quite collaboratively
in developing John scrubs.
Speaker 4 (06:21):
Yeah, I think. Uh, you know, I wrote the script
before any casts were involved, and that contained things like
tics and physical tics, of verbal tics and physical tics.
But as with all writers, or as with all directors,
(06:41):
you come to a point where the priority is to
get ready to start filming. So I was. I was casting,
I was looking at locations, and that was around about
the time that Rob came to Glas Shields and started
working with John. Probably ever a period of about two
or three months, and we stayed in contact pretty much daily.
I would say, so, you know, Robert, i'd get a call,
(07:03):
you know, I've been looking for locations all day and
I get a call from Robin and he says, you know,
did you know that John kissed lampposts? And I said
I didn't know that now he said, yeah, he kisses them,
you know, if they're not straight, if they're the wrong color.
And I said, well, you never told me that, and
I'd said that went straight in the script. And I
(07:23):
think one of the things that Rob brought, especially in
the early days, was Rob kept saying to me, we
have to make sure that we include everything that relates
to Tourette's because first of all, you know, you'll hear
people say if you meet one person with Tourettes, you've
(07:44):
only met one person with thurettes. Everyone is completely different. Secondly,
it's very rare or people will actually say you will
never meet anyone just with Tourettes, that they have comorbid conditions,
they have levels of autism, ADHD, o c D, high anxiety,
intrusive thoughts. So Rob in particular kept giving me I
(08:11):
won't say a hard time, but he just kept reminding
me saying, you know, we got we've got to show
the OCD, We've got a show, and putting the finger
under the ketel. And so he would he would tell
me about that, and I think, well, how am I
going to get that in? And then okay, then we
got it in. But Rob and I worked together because
any information that Rob had, any information that John or
(08:31):
anyone had, I would I was, you know, more than
happy to listen to and if possible, get it into
the script, because all I wanted to do was serve
John and serve the condition as well. So I think
it's fair to say that, you know, there were no ego, Sorry,
there were no egos at work. It was it's like,
let's gather everything and do the very best job we
(08:55):
can for John Cook.
Speaker 2 (08:57):
When you have two actors playing a character, Sir Scott
Ellis Watson does a beautiful job as well playing the
young John, and then Robert comes in. Do do you
get those two actors together at all to work on
the character? Is to make sure that there's sort of
some continuity that I've always wondered that when you've got
you go from young to old in a film.
Speaker 4 (09:14):
I think sometimes it would be justified. It was discussed
at the time. I was keen that Rob and Scott
spent some time to each other or with each other
away from the set, just so that they got to
know each other, even though they weren't in the same
scene together. And when we realized that both young John
and adult John would have to fly fish, we organized
(09:37):
an afternoon which was great. So John Davidson was there,
Scott was there, I was there, Rob was there. Suki
the dog was there, you know, and we were all
by the river. But that was really just to help
Scott in particular, familiarize himself with Rob and John, and
you know, because he'd never acted before Scott at all.
(09:58):
But with regards to working together, I think the young John,
and if we say that Rob's when Rob first appears,
he's in his early twenties. As John Davidson. John Stretts
had developed so much in those kind of eight years,
nine no, sorry, thirteen years, that really there wasn't any
(10:19):
point in them spending time together saying, oh, this is
how John ticks with his arm. This is you know,
young and old John. There were no real similarities. So
for that reason, I think it was easier for Rob
to focus on adult John and Scott to focus on
young John. And remembering that, you know, we had an
(10:41):
incredible opportunity to look back on the documentaries that had
been made about John. So when Scott said to me,
you know, you know, what was John like when he
was fourteen, or even when he said to John, what
were you like when you were fourteen? We both said,
just look at the documentary. There's an hour long documentary
there that's John when he was fourteen. So Scott. Scott
(11:03):
found that very reassuring. And it's very unusual that you
have questions from a character as a director and you
just say, don't ask me, just look at the documentary.
Speaker 2 (11:12):
Just go do your homework. Yeah, Cook, Is it true
that you sold the family home to completely finance this film?
Speaker 4 (11:24):
Not quite, but very very close. My wife and I
had sold our house of twenty years. We moved to
a different part of the country and we decided to
rent in the short term. And while we were renting,
so while we were you know, literally had every penny
that I'd ever earned in a thirty year career was
(11:45):
sitting in the bank ready for our next house, as
is normal. I wrote the script and I was very worried,
and with good reason. We only had one meeting that
people would want to soften it, they want to done it.
Then they would want to reduce the swearing, and I'd
promised John that I wouldn't let that happen. I promised
John that I would tell an honor version of the script,
(12:07):
and I promised myself, you know, when you've been making
films for thirty years, you do not want to constantly
be taking notes from people, softening stuff, dumbing it down,
not only for my you know, for my reasons, but
people forget that. You then have to pass those onto
the cast because the person or persons that are paying
(12:28):
for a production will say, I want less swearing, So
then you have no option but to reduce the swearing.
And then Rob says to me, and Peter Mullen says
to me, well, why are you taking out the swearing,
And I have to say, well, that's how it is.
We have to do it. I have to do it.
So I didn't want any of that. I wanted complete
creative freedom. So I decided the only way to do
(12:49):
it was to ask the bank if they would lend
the money for the film, based on the fact that
they had everything we had already, and at that point
I hadn't asked my wife. So I asked her one
evening and literally she said, if you feel strongly about
it and passionately about it, then let's do it. And
we never had an argument, we never had a discussion.
(13:10):
I filled out many forms for the bank to make
it happen, and that was it. And every night I
came home from a set and I would go into
my apartment, sit down and literally think, I am so
glad that we did that. I had not once and
still even though we've not seen anything come back yet,
not once have I had any regret over that. I
(13:31):
was so grateful that we literally bought our creative freedom.
Speaker 2 (13:39):
Robert, you won at Befter for this. You're up against
Leonardo DiCaprio, Timothy Schalla, May Michael B. Jordan for lead Actor.
What goes through your head when your name's called out?
Speaker 3 (13:49):
Oh, I mean shock, so much shock, because I'd won
the Rising Star Award and I couldn't believe that. I
felt so unbelievably honored by that, and so I was
still so of like processing that and what just happened.
I can't believe that this just happened. And you know,
(14:12):
like I was really honored to be in that category,
but I didn't ever think that I was going to
win it. So then when they said my name, I
just honestly could not believe it. I really really couldn't
believe it. So it was, you know, it was it
was a lovely, lovely on their acknowledgment. But obviously the
main thing that you hope from all of this stuff
is that people just watch the film more, that they
(14:34):
go on Google Touretts or John Davidson and learn learn
more about his life, you know. So it's you know,
I feel like the whole bafter thing led people to
watching the watching the film more, you know, like getting
nominated and stuff.
Speaker 2 (14:49):
Because I mean, you have been part of some very
big shows that a lot of the rings in Game
of Thrones. Where does this film sit for you sort
of within your body of work? How special is it
to you?
Speaker 3 (15:00):
I mean, the biggest challenge and you know, certainly, and
I feel so so passionate about his story, and I
don't know, I just think when you meet John, you
just feel like you really just want to do you know,
you wanted, you wanted, you want to do a good
job for him because he's because he's such an incredible man.
(15:21):
So you know, I just feel glad that people seem
to be watching it and enjoying it, and I feel
really lucky to be a part of it.
Speaker 2 (15:30):
Robert, thank you so much for the incredible for months, Kirk,
for the absolutely beautiful film. Really appreciate your time this morning.
Thank you, Thank you. That was director Cook Jones and
lead actor Robert Aramayo. The film I Swear is in
cinemas now.
Speaker 1 (15:46):
For more from the Sunday Session with Francesca Rudkin, listen
live to news talks it'd be from nine am Sunday,
or follow the podcast on iHeartRadio
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