June 8, 2023 • 46 mins
In this episode, we sit down with Corey Mylchreest and Michelle Fairley to explore their favorite moments from the series. We'll gain a deeper understanding of their characters King George and the Dowager Princess Augusta, and how they fit into the overarching story of Queen Charlotte, A Bridgerton Story. Michelle and Corey delve into their experiences working on the series, discussing the challenges they faced and the techniques they used to overcome them. Hear about Michelle’s costume and wig experience, how Corey worked tirelessly through the script, and what surprised both stars during filming. Plus: Corey describes his very last day of filming.
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Episode Transcript
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Speaker 1 (00:00):
Queen Charlotte the Official Podcast is a production of Shondaland
Audio in partnership with iHeartRadio. Welcome back to Queen Charlotte
the Official Podcast, Your companion behind the scenes of Shondaaland's
(00:22):
Bridgerton prequel on Netflix. I'm your host Gabby Collins, and
today we're spending time with actors Michelle Fairley and Corey Milcrist.
In today's episode, we're simply carving out some time to
talk about the way these performers carried Young King George
and Princess Augusta in their bones and how they felt
when it was all done. We're excited to dive into
(00:46):
Corey Millcrist and King George. We are inspired by what
drives him and we're going to learn more about what
he brings, you know, such authenticity to his performance. We're
really still to talk to this cool gent not only
because of his amazing acting chops, but also because of
(01:07):
the complex character that he brought to life on screen.
Young King George is troubled yet sweet, and he has
captured the hearts of many Queen Charlotte bands. And we
can't wait to hear from Corey about how he approaches
the role and what it's been like to bring such
a fascinating portrayal of a tortured king to life. Corey
(01:30):
mill Grease, how are you doing today?
Speaker 2 (01:33):
I'm okay, I'm feeling snazzy.
Speaker 1 (01:35):
Yeah, feeling snazzy. I'm feeling snazzy too. Yeah, let's feel
snazzy together. So Corey, of course we're here because of
your remarkable performance in Queen Charlotte of Bridgerton story. If
you could put it into one word, how did it
make you feel?
Speaker 2 (01:54):
I guess the word that I would use, especially with
the scene right at the end of episode six, which
the seeing nostalgic, But I mean, that's just boring, right,
So I would say otherworldly. It's so hard to see
the story as it is without God, it's so weird
to watch my fat right other worldly and nostalgic because
your body keeps the score. I look at myself and
(02:15):
I go, oh, yeah, I remember filming that, and then
suddenly I'm going, oh my, that's what I felt on
that day. So it's very hard to be objective about it.
And then sometimes I go, oh my god, that was
such a lovely day because we had such a great
laugh about that. You know whatever, and we had a
great conversation. It's so strange.
Speaker 1 (02:30):
I think otherworldly is a really interesting and good word. Though.
Speaker 2 (02:35):
What was your word or do you have one?
Speaker 1 (02:38):
Ah Man? I think actually it's just Yes, there was
so much that I saw that I needed to see.
I also felt like ooh, because there were moments I
felt like I shouldn't have been in the room. When
there were any you and India together on screen were
just I felt like I needed to step aside.
Speaker 2 (02:59):
And did you.
Speaker 1 (02:59):
I had to pose it. I did pause it every
once in a while. Yeah, what was it like working
with India?
Speaker 2 (03:06):
India is phenomenon. She worked so hard and her work
is so truthful and lovely and subtle. She is the
propeller of the entire narrative and does it expertly, and
is also just one of the kindest people I've met.
Speaker 1 (03:26):
She's great in those moments where you're both together, in
those really like heart wrenching scenes, or those those moments
where you are pouring your heart out as the young
King George, what was that like in the moment, Because
as viewers, we've got all the sweeping music and the
(03:48):
cuts and everything to kind of help amplify our emotion.
But for you in the moment, what was that? Like,
does the world fall away?
Speaker 2 (03:58):
Yeah?
Speaker 1 (03:59):
Sometimes tell me about your experience.
Speaker 2 (04:01):
I mean it changes day to day. That's the thing
about acting is you know, your instrument is is your being.
You know, so like if someone's playing the cello, it's
maybe slightly more I mean you stay your body and
your mind and your heart and is still engage, but
it's slightly more controlled. Whereas you know, I could turn
(04:22):
up one day and I could be feeling a really
certain type of way, and then the next day completely different.
So you have to be able to accept that. You
can't deny where you are as a person. There were
times where, you know, in really emotional moments or like
some stuff with the doctor and like the more yeah,
the torture scenes. You know, there would be times where
(04:44):
I remember, you know, the scene where Charlotte comes in
and rescues George. Yes, so I remember doing a few
takes of that and it was just so it's just
so painful. Sometimes it's hard to like snap out of it.
In the same way, sometimes it's hard to snap into it.
(05:04):
You know. Sometimes if you have a really emotional scene,
it's really it can be hard to you know, your
heart is going, oh can I trust this moment, you
know whatever, and to let go into it. And then
sometimes once you have let go, it's hard to at
the moment of cut go and I'm fine and I'm
Corey and it's all good because you have your subconsciously
(05:24):
and imaginatively you placed yourself in that place for a
bit and it is just pretend. But like you know,
you have to. That has to be a large section
of you that does believe it. India was so brilliant
and sometimes if we were in a similar state in
the scene or whatever, if we felt a certain way
about a scene, we'd both just sit and listen to
the same music and try and get on the same
sort of like vibration before going into a scene. Yeah,
(05:47):
and also the writing is so brilliant. There's a scene
where Charlotte comes in into the observatory and tries to
get George to tell her that he loves her. This
conversation isn't I cannot do this. I never wanted to Charlotte,
please stop.
Speaker 3 (06:03):
Is because you do not believe that I could love you.
Speaker 1 (06:06):
I do.
Speaker 2 (06:09):
And I remember reading that and going right I'm not
There's no way that I can say those words and
not sort of like breakdown. So I remember texting Tom
the director, going, man, please that, saying can we start
my close up? Because if we start wide and then
we get into close up like six hours later, I'm
going to be dry because there's no way that I
can I can't save it. Do you know what I mean?
(06:30):
If I say those things, it's going to come out.
And so it's a complete collaboration the whole time. You know.
Speaker 1 (06:36):
Wow, And that's really really interesting. I love what you
said about being on the same vibration and listening to music, yeah,
with your cast mates before getting into it.
Speaker 2 (06:48):
Yeah, I love it. I love it.
Speaker 3 (06:50):
Yeah.
Speaker 1 (06:51):
Speaking of music, I'm just curious, just curious if you
play any instruments.
Speaker 2 (07:00):
Yeah, what do you play? I've tried to play many.
I tried the violin for a while. I tried the bassoon.
It was probably the strangest one. I did the cello
for a bit, but I started learning classical guitar and
then got an electric guitar. And it's been a long time.
So I feel very guilty saying this, but if I
(07:20):
picked it up again, it would come back quickly, but
a bit of piano and also drums.
Speaker 1 (07:28):
No woodwinds, It's okay, you have a thing against woodwinds,
but it's fine. It's fine.
Speaker 2 (07:33):
I mean, if we kind of recorder, if we're kind
of the humble retorted, Oh no, we're in good company. Yeah.
Speaker 1 (07:42):
It's just your your your physicality, and and just hearing
about your prep. It just sounds like music is such
an intrinsic part of you and what you bring into
your into your role.
Speaker 2 (07:53):
Well, my mom my mum is a My mum's a musician. Okay,
she's a classical musician. So it's very beet rooted into
how I think, and like.
Speaker 1 (08:03):
See, I sometimes wish I was one of those people
that could see sound all the time, Like the synthesia.
I think that's amazing.
Speaker 2 (08:12):
Yeah, yeah, that's for me what I'm most jealous of
the number right.
Speaker 1 (08:15):
Yeah, yeah, yes, definitely. So let's talk about some of
your moments behind the scenes, getting working with costume and
and and and hair and makeup. Yeah, what about that
experience other than really just feeling that fabric, feeling the
(08:39):
weight of that those coats, and but also that the
freeness of that white shirt you're wearing as farmer, George,
can you tell me how that that impacted you in
your preparation or just in the moment.
Speaker 2 (08:54):
Yeah, I mean so, George is someone who you know,
he has an incredibly conflict relationship with his role, with
his duty, with the pressure, and of course when you're king,
that comes with a certain uniform. The things that he
wears are so intrinsically intertwined with his role. Even in
(09:18):
more relaxed moments, what he's wearing, it's hard for him
to not see the thing that is weighing him down constantly.
And so for me, as Corey, when I put those
things on, I go, well, this isn't as comfort as
like trackies and a jumper. And I can feel that
a lot of the time. You know, sometimes I'm embraces
to support it all, but you know, it can be
(09:38):
at times quite uncomfortable. And whenever I felt that, I
was like, well, what a privilege to be feeling that,
because I can use that because George his feeling of
discomfort is almost identical. You know, it's not something that
he wants to wear. And exactly as you said, in
those scenes where he's farming, that's the freest and happiest
that he is because he is you know, he's free
of the constraint of yes, juicy, but also what the
(10:01):
duty is resembled by, which is the layers of stuff
that man having to have on his body the whole time.
So it was it was a joy. And also Linn Paula,
who is the head of costume, it's such an astonishing
job and they are just such beautiful pieces of art.
Speaker 1 (10:21):
I have to ask about your necklace.
Speaker 2 (10:23):
Oh god, yeah, my frodo necklace. So this ring is
from my mum. Okay, I took all my rings off
and I put them round this chain. I have really
embarrassing hands, like they are very nobly at the knuckles.
Speaker 1 (10:35):
Oh, ring fitting must be terrible.
Speaker 2 (10:37):
So like, once I get a ring on, it's like
very hard to get off. So this is my way
of wearing that ring without having to break my finger
every time.
Speaker 1 (10:48):
Hey, was there something special about the wedding ring that
young King George wore?
Speaker 2 (10:52):
Do you know I actually have that?
Speaker 1 (10:55):
You do?
Speaker 2 (10:56):
Yeah, that's the one thing that I took. That's all
I put on the wedding ring for Charlotte and George
never gets a wedding ring. He's just got this singer
ring and I was like, why, and I think, let's
go to the historical advisor, and they said, well, because
he's married to the crown, he's the king. You know.
It's almost like that that's beneath his role, you know,
(11:19):
which is so sad, you know, because then again it's
just this man who is shackled by this duty or not.
Speaker 1 (11:27):
I wonder if anyone out there is like, let me
be a king, that's a vibe with that. I wonder, you.
Speaker 2 (11:34):
Know, imaginatively being a king is a lot cooler than
the reality of being a king, especially if you are
if you don't want it, and you've also got this
affliction that George has, it's like, oh my god. You know,
it's a bad concoction.
Speaker 1 (11:48):
When we come back, we'll continue our conversation with actor
Corey Milchriest. Before we jump back into our conversation with Corey,
(12:13):
take a listen to what casting director Kelly Valentine Henry
had to say about casting the well meaning, elusive lover
young King George.
Speaker 3 (12:22):
Corey and India.
Speaker 2 (12:26):
The scene where she's trying to get over the wall.
Speaker 4 (12:32):
And he says to her, I'm George, and there was
a softness.
Speaker 2 (12:38):
And a beauty and a claims.
Speaker 3 (12:41):
That Corey when he says, just George.
Speaker 4 (12:43):
And again that was a moment I was like, you've
just got the job or you know, yeah you are
George Corey.
Speaker 1 (12:50):
I heard that you had a really outstanding moment during
the Danbury Ball Alicia Keys ringing the bells. Yes, WHOA. Well,
I gotta say I fell in love with King George
when you did that deep, deep bow to Queen the
(13:13):
Young Queen Charlotte. Yeah, that was so that gave me chills.
I found out right there.
Speaker 2 (13:20):
Yeah, that was beautiful. So that was my idea. And
every time I was like, right, whatever India does, I'm
just going to go lower than that.
Speaker 1 (13:27):
Oh so good.
Speaker 2 (13:29):
This is the genius of Jack Murphy the choreographer, because
he taught me the etiquette and so once you know
the language, then you can speak because the deeper the bow,
the more respect do you know what I mean? And
in that moment, George is completely honoring Charlotte and Lady Danbury,
and I think it was really important. You know, again,
it's just subtle writing from shonder, But George comes in,
(13:50):
he's announced, and he comes in and he says Lord
and Lady Danbury, thank you for having me. It's not
you know, it's wonderful to be here, it's thank you.
It's true for having me. I'm the king, that's right,
and I'm thanking you for welcoming me into your home
that technically I own, do you know? You know? But
it's immediately going and paying reverence. Oh wow, you know
(14:12):
you're in charge. George, I think completely understands what it
is to be oppressed. He doesn't understand it in the
same systemic way that Danbury and Charlotte understand, but he
does understand oppression from a concept and feeling marginalized and
like you have to fit into something. I think that's
actually something that subconsciously attracts the two of them from
(14:32):
the beginning. But in that conversation that we don't see before,
George and Charlotte go to that ball, right, and I
think that George was immediately like, I know that I
am anxious in these circumstances, but I need to get
over that to because I know what I can do.
I know my privilege and I know how to use it.
But a beautiful night and then when Alisia Keys came on, Oh, yeah, yeah, melted.
Speaker 1 (14:55):
Is there any way that what you just said as
a young King George is magnify that thinking in terms
of what Queen Charlotte a Bridgeton story represents in the
streaming landscape period, Is there some connectivity there?
Speaker 2 (15:12):
I think completely. I would actually go as far as
to say, I think that's probably the only thing that
is most applicable from story to real life. Representation is
just like immensely powerful. There are going to be little
girls that watch this show that go I can be that,
and then it's our job to make those people real
(15:32):
so that the people that watch it don't see a
caricature that they see, they see positive human, natural, organic
life behind that that representation.
Speaker 1 (15:44):
Something I would just wanted to go back to really quickly.
You mentioned the conversation that we don't see, and you're
talking about the pillow talk moment where Charlotte's like.
Speaker 2 (15:55):
You are so good.
Speaker 1 (15:56):
That is so impressive.
Speaker 2 (16:00):
Thirty second scene.
Speaker 1 (16:02):
But I love that you say there's a conversation because
I think you could take it either way. You could
be like, Okay, Charlotte, Charlotte put it on them and
it's going to get what she wants, or they had
a conversation and have agreed to really be partners in this,
which we see afterwards when young King George is and
young Charlotte is talking after she's getting undressed.
Speaker 2 (16:24):
Right, yeah, exactly. Love that. Yeah, yeah, because I think
if we if we didn't have that scene afterwards where
he's going, you know, this is more change than I
thought I could ever achieved in my lifetime, then I
think that there would be a question, there'd be a
conversation to be had. Is she doing this? Is she
using the role of not in a malicious way, but
is she using the role of George to positively change
(16:46):
I don't think that she is. I think that she
completely has the power to do that, but also George
has the immense power and their understanding of life and
of each other in love. Yeah, I think that's a
dance that is mutual.
Speaker 1 (17:00):
The dance.
Speaker 2 (17:00):
Yeah.
Speaker 1 (17:01):
Yeah. So the scenes you have with the doctor are
anything but funny, But were there moments behind the scenes
that were full of laughter when it came to those
How did you keep it light?
Speaker 2 (17:16):
If you if you did it all, I didn't have
that many funny moments on set. But what was great
was because for me, like you know, I find it
very hard to like snap in snap out, so I've
got to like sort of stay in for me too
of what's going on. But what was so great was
because you know, Tom the director, Tom Erica has such
(17:39):
a freaking wonderful ethos and vibe on set, and everyone
is just you know, people were coming up to us
that had been working and that you know, they were
in the seventies and saying, this is the nicest set
that you'll ever work on. These people are just phenomenal.
So it was lovely on set. It wasn't necessarily like
tons of laughter for me. Sometimes it was. I remember
(18:01):
one time we were filming the scene where Charlotte is
giving birth.
Speaker 1 (18:08):
Oh yeah, I thought Brimsley was really funny in that scene.
Speaker 2 (18:12):
Yeah he is. He is so funny. Tom. I remember
talking about golfing or something, and then for some reason,
you know, when you're so tired, you don't really know
what you're doing. And then I sort of came to
and I was halfway through doing this mock golf swing
in like my Tom Erica impression and American accent, and
then I looked at him and I was like, I'm
(18:33):
so sorry. I don't know, why have I just done that?
Why have I done that? And he found But we
had some great times. Right at the end of shooting
me Sam who played Brimsley, Freddy who plays Reynolds on India,
we rented an AIRBMB for two weeks rather than staying
in a hotel, so just the four of us. Oh
(18:54):
my god, that was so good. That was so lovely.
And Freddy was so spooked. He because he got there
first and it's in the middle of nowhere, maybe seventeenth century,
really old, and he was like, guys, there's some really
weird energy here, you know. And then I got in
and he was like, did you guys feel that cold?
He'd be like suddenly freezing, and then he'd see something,
(19:17):
you know, whatever, and then we started to see stuff.
And then at one point India comes screaming down the stairs, going, guys,
I was just in my shower and all the lights
went on and off and on and off and then
just stayed off. She was panicking and Freddy was the worst.
He was because he was so so scared, right and
then and then one day he just comes down and
he's so straight faced and he was like, guys, I've
(19:38):
made the whole thing up, and it was me doing
the lights and it was me opening the windows, and
I was like, dude, what the hell, why would you?
Speaker 1 (19:46):
Yeah, that's crazy.
Speaker 2 (19:50):
My theory is that he was actually just really scared
and he wanted to make other people feel scared so
that he.
Speaker 1 (19:56):
Have some fun, have some fun, keep it light, yeah, yeah,
shake it off, yeah, because I mean, I mean, some
of the scenes that you're in can be super heavy.
Speaker 2 (20:06):
Yes, jeez.
Speaker 1 (20:08):
Do you have a favorite moment from episode four at all?
Speaker 2 (20:12):
There's a lovely moment. I think it's Reynolds's moment. It's
it's the moment where as a viewer, I went, Wow,
this is the this is the power that this guy has.
And it's the moment where I'm at the dinner table
and I'm starting to crack and there are servants looking
at me and I'm getting goosebumps thinking about it, and
he just comes up and he just lays a hand
(20:33):
on my shoulder and everything relaxes and he takes a breath,
and then there's a change in the music. The music
in that moment is genius. It hits as soon as
George's hand hits the table and it just pans from
Freddie's hand to his face and there's a swell in
the music and you go, oh my god, this man
is carrying everything. The reason that the King is the
(20:54):
thing is because of this man. It's a good color
on this wine, Realise, I shall let the kitchen know.
You're my So this is the genius of Shondre right.
So like she'd taken all the dialogue out and she
just described the whole thing, and then right at the
end she just wrote the line, good color on this wine, Reynolds,
I should let the kitchen know. You might just think
it sounds like nothing, but it's just genius, right, yes,
(21:17):
because here's these two men that are crumbling and they
are surviving by the skin of their teeth, and yet
again they've won the battle, but the war is very
far from over. And we're not going to speak about this.
But I want to tell you that I love you
and I can't do anything without you, but I can't
say anything. So it's good color on this wine.
Speaker 1 (21:37):
Oh my goodness, Corey, Yes, yeah, I love.
Speaker 2 (21:41):
Actually mine and Freddy's first scene together really yeah, So
that was my That was my third day of shooting,
and that was Freddie's first day of shooting, So that
moment I think is my favorite.
Speaker 1 (21:50):
You know, I gotta say, though, you all being able
to read between those lines is I have to commend you.
I mean, it just made that pop because you got it,
you understood the assignment.
Speaker 2 (22:06):
As they say, well, that's very kind, and it's a
testament to Shamba's writing, Yeah, and to Tom's understanding of
how to express an idea and how to communicate that
to actors. And I think that's the genius of Tom's
you know, because he has this buzzzt of you, the
whole narrative. But also he's a fantastic actor in his
(22:26):
own right, so he can talk to you as actors.
He's just genius. And so that I think that's a
testament to the team.
Speaker 1 (22:34):
Yeah, is understanding those moments absolutely. There's also this moment
in episode four and you're facing Michelle Fairley as Princess Augusta.
She has just told you that your bride is on
the way, and you collapse into her arms.
Speaker 2 (22:52):
I was really really nervous for that scene because he
has this argument with his mother and constantly and says,
I don't think that I do need to manif the
goold of the country and to rule George. Fear of
intimacy and his abandonment trauma triggers this panic because suddenly
there's this woman coming. Then he spirals and he starts
to become less and less lucive, and he ends up
(23:13):
on our heap in the floor. So you've got like
an enormous beginning to end there. You know that you
have to wanner as an actor. You know, you want
to honor the truth of that anger at the beginning,
and there's quite a bit of wits in his argument,
and then we end with him crumpled on the floor shaking.
So it's like, you know, I remember going, God, I
don't know how to I've got a snap halfway through
(23:33):
this scene, and I don't know how to do that.
And Tom said, this brilliant thing. He comes up to me,
and this is the genius of Tom again. He says,
what about if you're starting to lose it? But there
is a part of you that can hear yourself and
knows that it doesn't make sense, and knows that there's
a pep there's a line of very important people in
front of you, And then is trying to overcome it
by talking more and making sense of it to them
(23:55):
to go, no, no, no, I am talking about what
I'm meant to be talking about, and I do know
what I'm saying. But in the doing of that, he
hears himself again and it's just getting less and less sensical.
And this is the brilliant thing, you know, because like
acting is like, yeah, there's intention, but that has to
be obstacle. And yeah, the obstacle there is that these
things are coming out, but the need is to convince
them that you are strong, that I'm not losing it,
(24:17):
you know, And there's something so tragic about that. And
it's just a genius note in the moment that he goes, oh,
let's try this, and that's the take that we used.
Speaker 1 (24:27):
Wow, as you described that, it reminds me of how
delicate mental health is and the thinking of someone who
is ailing, just like that, of all of the things
that the show talks about mental health, I think in
a way that's not head on or making a decision
(24:49):
or choice or opinion about it, but it is a
part of the fabric of what is happening in this
family and this life.
Speaker 2 (25:00):
That's life, right, Yeah, exactly. I think more than anything, George,
and his story isn't necessarily an exploration of mental health,
but it is an exploration of a man's relationship to
his own shame and to his own self hatred as
a result of his affliction. Oh, you know, it's the
moments where he comes out and has realized that he's
(25:22):
lost himself and lost his dignity, or believes that he's
lost his dignity. Those, for me are the most tragic moments,
you know, because there's a man who is conscious and
who is lucid, and who has believed that he has
exposed a fundamentally unlovable part of himself.
Speaker 1 (25:39):
Definitely thought it was like a classic impostor syndrome moment
when you are in uniform uniform right before you give
the speech and your hand is shaking. I'm like, wow,
he's really he's filling that suit out with impostor syndrome.
And then you get into the back of the carriage
and you're all curled up. I just remembered that. Oh
my goodness.
Speaker 2 (26:00):
Yeah.
Speaker 1 (26:00):
Yeah, So in the moment where you're in the carriage
and you're curling under, cowering away from the task at hand,
what were you tapping into.
Speaker 2 (26:11):
That moment in the carriage. That was the last take
I shot, oh of the entire project.
Speaker 1 (26:18):
The entire, entire, entire, entire, panem entire thing.
Speaker 2 (26:22):
That was that shot of me collapsing in the carriage,
not the one outside from when Reynolds sees George, but
the one inside as it's as the carriage is moving.
That was shot on an east Enders, which is a
soap opera from from London, on an east Enders sound
stage studio on the outskirts of London, on a green screen,
(26:46):
and that was the That was the very last I
think we maybe shot two three takes of it. It
was very quick, and to be honest, I personally I
don't think it's very healthy to use your own life directly,
but in that moment it was very hard not to
because most of what I was feeling was what the
hell am I going to do after this? I don't
(27:08):
want to say goodbye to this character. I don't want
to say goodbye to working with these people. And I
was feeling very emotional at the time anyway. So when
something is so overwhelming like that and it fits so
perfectly with what you're having to film on the day,
is I think it's a bit of a cheat, and
you know, it's not something that I'm proud of, but
I did. I just completely allowed that to take over.
Speaker 1 (27:29):
So after that scene, did you step out of the
carriage and then what did you see?
Speaker 2 (27:35):
The entire room is just black walls, black floor, black ceiling,
very very high roof, and yes, there's just this carriage
and then like a three walls of green screen and
Leo brilliant cameraman who was crouched down getting some footage
with me, and India actually was there. She came to
(27:56):
my last day. She wasn't shooting, she'd already wrapped the
entire thing. Tom comes up to me and gives me
a very big heart in my ugly For eight months,
basically every day I tapped into that Matt right, and
suddenly that was it that they was very very other worldly.
Speaker 1 (28:13):
Yeah, Corey mill Christ, it has been such a pleasure
to spend this time with you.
Speaker 2 (28:19):
It has been Thank you so much. Yeah, yeah you are, Yeah,
you're very very good at it, and those questions were yeah, so.
Speaker 1 (28:27):
Thank you, thank you so much.
Speaker 2 (28:29):
Yeah, it's absolute pleasure.
Speaker 1 (28:31):
Don't go anywhere. There's more from behind the scenes of
Queen Charlotte of Bridgeton Story right after this. With her
impeccable flair for language, Michelle Fairly has earned numerous accolades
(28:53):
and the adoration of fans worldwide. She has graced both
stage and screen with her unforgettable performances. Is they live
in our minds? Rent Free? Do they not? And now,
as Princess Augusta and Queen Charlotte of Bridgerton Story, She's
added yet another unforgettable role to her already impressive chest
of characters. She's proven time and again that she's a
(29:15):
force to be reckoned with Michelle Fairley. Welcome to Queen
Charlotte the Official podcast. How are you doing today?
Speaker 3 (29:22):
Hi, Gabriel, I'm very well, a little bit nervous, but.
Speaker 1 (29:27):
Yeah, oh yes, yeah, we're gonna jump right into it.
We have to talk about Princess Augusta and the young
King George, and there's just so much that happens in
that episode. And I had an opportunity to speak with
Tom Berica, and what I told him was we already
fall in love with Princess Augusta as the person that
(29:51):
is maybe not the one that you would first think
of to fall in love with but we get to
meet Mama Princess Augusta in episode four. I was wondering
if you had any life experiences or perspectives on Princess
Augusta's role as someone who is losing power with her
(30:17):
adult child, losing power in the grand scheme of this
new union. Could you tell us a little bit about
your preparation and how you fuel that role with your
own life.
Speaker 3 (30:33):
I think, you know, as one gets older, and particularly
in this business, you know, we've all missed opportunities in
our lives that we've wanted, that we would have wanted.
So you just have to get on with it, and
you lose things, and you just have to get over
that grief. And I don't think you ever forget the grief.
(30:53):
It's you know, it's a form of death. Really, you
learn to live with it again. You know, you it
does change you, but you keep going. You have to
keep going. And I think for Augusta, she did not
have the luxury of giving up. She had to fight
for her position within the court. She had to protect
her children so that they would ultimately be royal. She
(31:17):
ate Humble Pie with her father in law to achieve
King George the third position.
Speaker 1 (31:23):
When Princess Augusta reveals her own turmoil in her own
journey to young Lady Agatha Danbury, it gave me chills.
It really gave me chills, And just your delivery of
it was so I felt exactly what you were saying,
that everybody experiences some level of loss and grief and
(31:44):
you don't have to leave the exact same circumstances to
understand that feeling. It just transcends.
Speaker 3 (31:50):
That seems brilliant. I love that you get to see
another side of her, and you know the fact is that,
you know, we just think that she's this hard nosed,
driven woman, but actually she has created a persona around her.
She has a web or an armor around her so
that you actually can't get in there. But that doesn't
(32:10):
mean that she doesn't feel things and that she doesn't
have empathy and she doesn't understand what's going on in
front of her. You know, she can read these people
like they think they can read her, because she's been
in that position. She's been in the position of vulnerability.
You know, she had to secure not only her position,
but her children's position and the rightful position as heirs
(32:33):
to the throne. So she had to plot and scheme
to keep her position there and basically, you know, befriend
a man whom her husband detested and there was incredibly
acrimonious relationship.
Speaker 1 (32:48):
Wow.
Speaker 3 (32:49):
And so when Agatha Danbury comes to her crying her eyes,
I'm feeling sorry for herself. I think, you know, Augusta goes. Okay,
a life lesson for you, young lady. Pah Brandy, I
have it shipped in from Germany. Now, drink and cease
from crying this instant.
Speaker 2 (33:08):
Please, I am sorry.
Speaker 3 (33:12):
I no, I do not want to know your burdens
or hear what problems plague your life.
Speaker 1 (33:18):
No do I care, Michelle. That is one of my
absolute favorite moments in the entire series when you pull
out the pear Brandy. Oh my goodness. I had to
press pause and walk around because it was just so good.
And the thing is, I kept asking myself after about
(33:42):
seven times watching it, who is there for Agatha? Who
is teaching Agatha how to navigate this society and her
role as a woman. And it's Princess Augusta. I just
literally just now realized the answer is it's Princess Augusta.
She's there.
Speaker 3 (34:00):
There are different generations for a start, that come from
different countries. Their life experiences are completely different. But you know,
they are still women and they're struggling, and they have struggled,
and it's about how you're going to cope with the
continual struggles that life is going to throw at it,
do you know what I mean? You can't just cry
(34:21):
all the time. You've just got to sort of like
have a backbone, get on with it, take the blow
and learn from it. But also as well, don't show
your weakness. Don't show your weakness, particularly in court.
Speaker 1 (34:31):
Yeah. I really hope that anyone who watched that scene
is able to recognize someone in their life who is
that a Princess Augusta for them?
Speaker 2 (34:43):
Yeah?
Speaker 3 (34:43):
Absolutely. I mean it's like being cruel to be kind,
you know, It's as simple as that, basically, do you
know what I mean? And you know Augusta, you know,
she has strict rules, but she's not a cruel person.
She isn't cruel. She she genuinely has empathy for women.
But she's a tough task master because she's had it tough.
(35:06):
And I think that's just the way she is, that's
the form that she has molded into through her own
life experience. But she's an intelligent woman. She's you know,
navigated her path pretty well so far. And I don't
think she ever thought of herself as a as a
sort of a particular sort of guide, because it doesn't
(35:30):
happen with Charlotte. And it's two different types of thinker
clashing threads, you know, and it should be this way. No,
it's definitely this way because that's the way it's always
been and that's it. But I'm the young one, I'm
the new one. I want to change things. And you
see both sides of the argument. But I think for
her there is regret because she wasn't able to change
it and have it her way, you know, but she
(35:52):
had to toe the line. But she did that for
her children.
Speaker 1 (35:56):
Yes, because of your illustrious career, I'm curious if you
had a Princess Augusta or a Pear Brandy moment.
Speaker 3 (36:07):
Oh I've had so many?
Speaker 2 (36:08):
Oh got yeah.
Speaker 3 (36:13):
I mean we all have warbble lefs, you know what
I mean, some of us more than others and some.
I mean that's part of every job you do. You
have a wobble you know, it's like, oh my god,
how did I get here. What am I doing here?
I'm an imposter? You know, I'm to get fired. You know,
that's it. He constantly have that dialogue.
Speaker 1 (36:32):
Is there a story you're willing to share with us
about a pair brandy moment?
Speaker 2 (36:37):
Oh god?
Speaker 3 (36:38):
Oh well, I personally I don't drink brand, I mean,
oh god, yeah, I mean there's so many. I did
a play years ago. The brilliant Harold Pinter directed it,
and it was and and I was terrified. Absolutely, it's
(36:59):
a two hander, and I was absolutely terrified. Harold had
a fridge in the rehearsal room, so he would go
and open. There always be some lovely wine in there.
And I was too terrified, didn't even have a glass
of wine. But Harold Pinter got me through it, as
been the brilliant Dennis Lawson as well, so you know,
(37:19):
without them actually knowing it. But that's just fear of
the unknown. And that's what I mean about everybody having
a warble on every job that they do.
Speaker 1 (37:27):
Well, I know I do.
Speaker 3 (37:28):
And then you realize just how lucky you are do
you even have the job, and you should be so
bloody grateful.
Speaker 1 (37:36):
That's a really that's a great story, Michelle. I was
wondering if you could help me understand a little bit
about the Great Experiment. I feel like I'm unable to
grasp why Princess Augusta cares so much. I mean, yes,
she wants to ensure her line, but why does she
(37:57):
care so much that these two so societies become the
ton What is in it for her?
Speaker 3 (38:04):
My taking of it, the Great Experiment was to show
that they are an open society. I mean, it's a
very arrogance of them, you know, but I know that's
a tongue in cheek from a Shanders, you know, considering
that that is an experiment. The great experiment is the marriage?
You know, is the marriage going to work? You know,
(38:25):
this has to work, This has to work for the
line to you know, to continue.
Speaker 1 (38:31):
Maybe that's like the magic of it. Because I was
always watching your performance like what is this woman up to?
Why does she care? And yeah, you you absolutely kept
us super curious in wanting to get into your head
all the way to the end. The moment that you
walk up to young Queen Charlotte played by India in
(38:55):
the final episode and you kind of like pass on
the torch mm hm, yes, yes, yes, I felt like may. Okay,
maybe maybe she feels like her work is done, and
maybe she is just this this I don't I don't know.
I can't put my finger on it, but I think
that is what makes me a little obsessive about Princess Augusta.
Speaker 3 (39:17):
From my point of view, that was the moment when
she's finally accepted Charlotte, I think, as you know, as
an equal in terms of what she can do, you know,
because I think Augusta's main love is her son is George,
and trying to protect him throughout his entire life, and
(39:37):
being mistrustful of Charlotte in the first place, and not
allowing her the knowledge of George's Millard, and so seeing
how Charlotte has developed with her and her acceptance of it,
and not only the acceptance of it, but in terms
of dealing with it, and and just watching this these
(39:59):
two young people fall in love, have mutual respect for
each other, and treat each other with respect in a
way that Augusta hadn't experienced. So that moment basically a
thank you to Charlotte.
Speaker 1 (40:13):
Wow, thank you wow. Okay. I also have a thing
for how stately and large you can still remain within
these huge spaces. Maybe it's your costume, maybe it's the
(40:33):
timber of your voice, but you just fill the space.
And I'm wondering if there was anything about the costume
design that influenced your physicality. I saw you as almost
like a chess piece, like you are moving a lot
while you were making all of these like chess moves
with your mind.
Speaker 3 (40:53):
That's really kind.
Speaker 1 (40:54):
Thank you.
Speaker 3 (40:55):
I think the costumes are extraordinary, and I think then
Polo and her team were just it's incredible in what
they achieved and how they constantly, you know, had delight
and joy in creating costumes for Augusta because she's the
elder states person there.
Speaker 2 (41:14):
Do you know what I mean?
Speaker 3 (41:15):
So she can have apart from the bridgeton Queen, not
young Charlotte, because she she's the head woman. So there
is definitely a contrast between the younger characters costumes and
Augustus costumes because she's old school and yeah, so there
was more pomp and ceremony there and more chance to
be sort of ott as well. And it's also a
(41:39):
chance for her to show off of her position and
you know, you know, and she's to be respected. But
I think as well, is that what lovely thing of
sitting in state, you know, in her home.
Speaker 1 (41:52):
I was wondering, are you wearing a wig?
Speaker 2 (41:55):
Me?
Speaker 1 (41:56):
Yes, are you wearing?
Speaker 2 (41:57):
No? Oh? No, sorry?
Speaker 3 (41:58):
In the production Michelle, Yes, i am, actually I am.
And it's the first time ever in my career I've
worn a wig. I've had, yeah, I've had hair pieces
and things like that, but never a full on wig.
And when we were doing the camera tests, one was
(42:22):
the one that I ended up having all the time,
and the other was a white one, which I personally loved,
but I think they the decision was made, no, you're
not going to go with that one. We'll keep her
with the dark hair. And they used to change it
ever so slightly depending on the they sit. You you know,
(42:44):
if they were going to a ball, or if it
was just tea, or if it was just you know,
a normal meeting, or if it was the wedding. You know,
there'd be lots of little intripate. Once it was on,
it was stayed in place. It was made for my
head as well, and it was so comfortable and the
real hair as well. So I was very very privileged
(43:07):
position to have a wig made and also you know,
to have the amazing hair and makeup team to sort
of whip it into shape every time I was wearing it.
Speaker 1 (43:19):
Oh yeah, there was an overhead shot of you in
episode four and we got to see all of these
coils and curls on your head and I was just like, wow,
that is in trick it. That's a lot. It was
really beautiful.
Speaker 3 (43:32):
Absolutely, And then they had these little you know, the
little ringlets that are the side of the ears, right,
I think I went from sort of like two to
possibly fall depending on the occasion. You know, those were
separate you know, that could be clicked in, you know,
attached to the wig and so, and then there was
(43:53):
always keeping them, you know, so that they don't become
too droopy, you know, as the day goes on. So
if you weren't you know, if you were on camera,
you'd have a massive, big sort of like beehive or
you know, netting all over you to keep to keep
the keep the wig in place, and also to keep
your ringlets from drooping, you know. So, yes, Staggy old
(44:15):
pair of nights. At the end of the day, there's
a lot of work that you don't see, you know,
been a massive team of people to achieve that.
Speaker 1 (44:23):
Michelle FAIRLEI thank you so much for your time and
for your your artistry. We love seeing you on screen,
and I again thank you for Princess Augusta and all
of those moments that gave me chills. We are so
happy that you joined us today.
Speaker 3 (44:44):
Brill thank you so much. Indeed, it's been a pleasure
and a privilege to talk to you, and thank you
for the time and for your questions.
Speaker 1 (44:53):
Michelle, you have once again left us in all it
was a privilege to speak with you today. And thanks
to the enchent Corey Milchriest again for Unearth and King
George and speaking from the heart. Make sure you come
back because on the next episode, Aja will end all
bequeaths the knowledge that deepens our understanding of the Great
Experiment and Lady Danbury's backstory.
Speaker 4 (45:16):
How do we survive on a pragmatic level, How do
we survive on a spiritual level, How do we survive
on a psychological level? We have to make relationship where
we can. Human beings are built to be in communion
with one another. You put a bunch of women on
tour together for long enough, we'll all have our periods
at the same time. You know, we're biologically made to
(45:38):
be in communion, and so when you are the only one,
which when you're you know, which is an experience that
many people of color will have. You know in the West,
you need to make your alliances where you can, and
you need to be generous and open hearted and strategic
(46:00):
because it's your duty to get in a position and
then you help the next generation.
Speaker 1 (46:05):
I can't wait for you to hear her story. Queen
Charlotte the Official Podcast is executive produced by Sandy Bailey,
Lauren Homan, alex Alja Tyler Klang, and me Gabrielle Collins.
Our producer and editor is Tarry Harrison. Subscribe to the
podcast anywhere you get your favorite shows. Get the book
(46:27):
I'm a Crispy Turn the Page, Smell the Binding kind
of Queen. But you can download it and you can
find Queen Charlotte, a Bridgeton story on Netflix. We'll see
you next week. Queen Charlotte. The Official Podcast is a
production of Shondaland Audio in partnership with iHeartRadio. For more podcasts,
(46:49):
visit the iHeartRadio app, Apple Podcasts, or wherever you listen
to your favorite shows.
Queen Charlotte the Official Podcast is a production of Shondaland
Audio in partnership with iHeartRadio. Welcome back to Queen Charlotte
the Official Podcast, Your companion behind the scenes of Shondaaland's
(00:22):
Bridgerton prequel on Netflix. I'm your host Gabby Collins, and
today we're spending time with actors Michelle Fairley and Corey Milcrist.
In today's episode, we're simply carving out some time to
talk about the way these performers carried Young King George
and Princess Augusta in their bones and how they felt
when it was all done. We're excited to dive into
(00:46):
Corey Millcrist and King George. We are inspired by what
drives him and we're going to learn more about what
he brings, you know, such authenticity to his performance. We're
really still to talk to this cool gent not only
because of his amazing acting chops, but also because of
(01:07):
the complex character that he brought to life on screen.
Young King George is troubled yet sweet, and he has
captured the hearts of many Queen Charlotte bands. And we
can't wait to hear from Corey about how he approaches
the role and what it's been like to bring such
a fascinating portrayal of a tortured king to life. Corey
(01:30):
mill Grease, how are you doing today?
Speaker 2 (01:33):
I'm okay, I'm feeling snazzy.
Speaker 1 (01:35):
Yeah, feeling snazzy. I'm feeling snazzy too. Yeah, let's feel
snazzy together. So Corey, of course we're here because of
your remarkable performance in Queen Charlotte of Bridgerton story. If
you could put it into one word, how did it
make you feel?
Speaker 2 (01:54):
I guess the word that I would use, especially with
the scene right at the end of episode six, which
the seeing nostalgic, But I mean, that's just boring, right,
So I would say otherworldly. It's so hard to see
the story as it is without God, it's so weird
to watch my fat right other worldly and nostalgic because
your body keeps the score. I look at myself and
(02:15):
I go, oh, yeah, I remember filming that, and then
suddenly I'm going, oh my, that's what I felt on
that day. So it's very hard to be objective about it.
And then sometimes I go, oh my god, that was
such a lovely day because we had such a great
laugh about that. You know whatever, and we had a
great conversation. It's so strange.
Speaker 1 (02:30):
I think otherworldly is a really interesting and good word. Though.
Speaker 2 (02:35):
What was your word or do you have one?
Speaker 1 (02:38):
Ah Man? I think actually it's just Yes, there was
so much that I saw that I needed to see.
I also felt like ooh, because there were moments I
felt like I shouldn't have been in the room. When
there were any you and India together on screen were
just I felt like I needed to step aside.
Speaker 2 (02:59):
And did you.
Speaker 1 (02:59):
I had to pose it. I did pause it every
once in a while. Yeah, what was it like working
with India?
Speaker 2 (03:06):
India is phenomenon. She worked so hard and her work
is so truthful and lovely and subtle. She is the
propeller of the entire narrative and does it expertly, and
is also just one of the kindest people I've met.
Speaker 1 (03:26):
She's great in those moments where you're both together, in
those really like heart wrenching scenes, or those those moments
where you are pouring your heart out as the young
King George, what was that like in the moment, Because
as viewers, we've got all the sweeping music and the
(03:48):
cuts and everything to kind of help amplify our emotion.
But for you in the moment, what was that? Like,
does the world fall away?
Speaker 2 (03:58):
Yeah?
Speaker 1 (03:59):
Sometimes tell me about your experience.
Speaker 2 (04:01):
I mean it changes day to day. That's the thing
about acting is you know, your instrument is is your being.
You know, so like if someone's playing the cello, it's
maybe slightly more I mean you stay your body and
your mind and your heart and is still engage, but
it's slightly more controlled. Whereas you know, I could turn
(04:22):
up one day and I could be feeling a really
certain type of way, and then the next day completely different.
So you have to be able to accept that. You
can't deny where you are as a person. There were
times where, you know, in really emotional moments or like
some stuff with the doctor and like the more yeah,
the torture scenes. You know, there would be times where
(04:44):
I remember, you know, the scene where Charlotte comes in
and rescues George. Yes, so I remember doing a few
takes of that and it was just so it's just
so painful. Sometimes it's hard to like snap out of it.
In the same way, sometimes it's hard to snap into it.
(05:04):
You know. Sometimes if you have a really emotional scene,
it's really it can be hard to you know, your
heart is going, oh can I trust this moment, you
know whatever, and to let go into it. And then
sometimes once you have let go, it's hard to at
the moment of cut go and I'm fine and I'm
Corey and it's all good because you have your subconsciously
(05:24):
and imaginatively you placed yourself in that place for a
bit and it is just pretend. But like you know,
you have to. That has to be a large section
of you that does believe it. India was so brilliant
and sometimes if we were in a similar state in
the scene or whatever, if we felt a certain way
about a scene, we'd both just sit and listen to
the same music and try and get on the same
sort of like vibration before going into a scene. Yeah,
(05:47):
and also the writing is so brilliant. There's a scene
where Charlotte comes in into the observatory and tries to
get George to tell her that he loves her. This
conversation isn't I cannot do this. I never wanted to Charlotte,
please stop.
Speaker 3 (06:03):
Is because you do not believe that I could love you.
Speaker 1 (06:06):
I do.
Speaker 2 (06:09):
And I remember reading that and going right I'm not
There's no way that I can say those words and
not sort of like breakdown. So I remember texting Tom
the director, going, man, please that, saying can we start
my close up? Because if we start wide and then
we get into close up like six hours later, I'm
going to be dry because there's no way that I
can I can't save it. Do you know what I mean?
(06:30):
If I say those things, it's going to come out.
And so it's a complete collaboration the whole time. You know.
Speaker 1 (06:36):
Wow, And that's really really interesting. I love what you
said about being on the same vibration and listening to music, yeah,
with your cast mates before getting into it.
Speaker 2 (06:48):
Yeah, I love it. I love it.
Speaker 3 (06:50):
Yeah.
Speaker 1 (06:51):
Speaking of music, I'm just curious, just curious if you
play any instruments.
Speaker 2 (07:00):
Yeah, what do you play? I've tried to play many.
I tried the violin for a while. I tried the bassoon.
It was probably the strangest one. I did the cello
for a bit, but I started learning classical guitar and
then got an electric guitar. And it's been a long time.
So I feel very guilty saying this, but if I
(07:20):
picked it up again, it would come back quickly, but
a bit of piano and also drums.
Speaker 1 (07:28):
No woodwinds, It's okay, you have a thing against woodwinds,
but it's fine. It's fine.
Speaker 2 (07:33):
I mean, if we kind of recorder, if we're kind
of the humble retorted, Oh no, we're in good company. Yeah.
Speaker 1 (07:42):
It's just your your your physicality, and and just hearing
about your prep. It just sounds like music is such
an intrinsic part of you and what you bring into
your into your role.
Speaker 2 (07:53):
Well, my mom my mum is a My mum's a musician. Okay,
she's a classical musician. So it's very beet rooted into
how I think, and like.
Speaker 1 (08:03):
See, I sometimes wish I was one of those people
that could see sound all the time, Like the synthesia.
I think that's amazing.
Speaker 2 (08:12):
Yeah, yeah, that's for me what I'm most jealous of
the number right.
Speaker 1 (08:15):
Yeah, yeah, yes, definitely. So let's talk about some of
your moments behind the scenes, getting working with costume and
and and and hair and makeup. Yeah, what about that
experience other than really just feeling that fabric, feeling the
(08:39):
weight of that those coats, and but also that the
freeness of that white shirt you're wearing as farmer, George,
can you tell me how that that impacted you in
your preparation or just in the moment.
Speaker 2 (08:54):
Yeah, I mean so, George is someone who you know,
he has an incredibly conflict relationship with his role, with
his duty, with the pressure, and of course when you're king,
that comes with a certain uniform. The things that he
wears are so intrinsically intertwined with his role. Even in
(09:18):
more relaxed moments, what he's wearing, it's hard for him
to not see the thing that is weighing him down constantly.
And so for me, as Corey, when I put those
things on, I go, well, this isn't as comfort as
like trackies and a jumper. And I can feel that
a lot of the time. You know, sometimes I'm embraces
to support it all, but you know, it can be
(09:38):
at times quite uncomfortable. And whenever I felt that, I
was like, well, what a privilege to be feeling that,
because I can use that because George his feeling of
discomfort is almost identical. You know, it's not something that
he wants to wear. And exactly as you said, in
those scenes where he's farming, that's the freest and happiest
that he is because he is you know, he's free
of the constraint of yes, juicy, but also what the
(10:01):
duty is resembled by, which is the layers of stuff
that man having to have on his body the whole time.
So it was it was a joy. And also Linn Paula,
who is the head of costume, it's such an astonishing
job and they are just such beautiful pieces of art.
Speaker 1 (10:21):
I have to ask about your necklace.
Speaker 2 (10:23):
Oh god, yeah, my frodo necklace. So this ring is
from my mum. Okay, I took all my rings off
and I put them round this chain. I have really
embarrassing hands, like they are very nobly at the knuckles.
Speaker 1 (10:35):
Oh, ring fitting must be terrible.
Speaker 2 (10:37):
So like, once I get a ring on, it's like
very hard to get off. So this is my way
of wearing that ring without having to break my finger
every time.
Speaker 1 (10:48):
Hey, was there something special about the wedding ring that
young King George wore?
Speaker 2 (10:52):
Do you know I actually have that?
Speaker 1 (10:55):
You do?
Speaker 2 (10:56):
Yeah, that's the one thing that I took. That's all
I put on the wedding ring for Charlotte and George
never gets a wedding ring. He's just got this singer
ring and I was like, why, and I think, let's
go to the historical advisor, and they said, well, because
he's married to the crown, he's the king. You know.
It's almost like that that's beneath his role, you know,
(11:19):
which is so sad, you know, because then again it's
just this man who is shackled by this duty or not.
Speaker 1 (11:27):
I wonder if anyone out there is like, let me
be a king, that's a vibe with that. I wonder, you.
Speaker 2 (11:34):
Know, imaginatively being a king is a lot cooler than
the reality of being a king, especially if you are
if you don't want it, and you've also got this
affliction that George has, it's like, oh my god. You know,
it's a bad concoction.
Speaker 1 (11:48):
When we come back, we'll continue our conversation with actor
Corey Milchriest. Before we jump back into our conversation with Corey,
(12:13):
take a listen to what casting director Kelly Valentine Henry
had to say about casting the well meaning, elusive lover
young King George.
Speaker 3 (12:22):
Corey and India.
Speaker 2 (12:26):
The scene where she's trying to get over the wall.
Speaker 4 (12:32):
And he says to her, I'm George, and there was
a softness.
Speaker 2 (12:38):
And a beauty and a claims.
Speaker 3 (12:41):
That Corey when he says, just George.
Speaker 4 (12:43):
And again that was a moment I was like, you've
just got the job or you know, yeah you are
George Corey.
Speaker 1 (12:50):
I heard that you had a really outstanding moment during
the Danbury Ball Alicia Keys ringing the bells. Yes, WHOA. Well,
I gotta say I fell in love with King George
when you did that deep, deep bow to Queen the
(13:13):
Young Queen Charlotte. Yeah, that was so that gave me chills.
I found out right there.
Speaker 2 (13:20):
Yeah, that was beautiful. So that was my idea. And
every time I was like, right, whatever India does, I'm
just going to go lower than that.
Speaker 1 (13:27):
Oh so good.
Speaker 2 (13:29):
This is the genius of Jack Murphy the choreographer, because
he taught me the etiquette and so once you know
the language, then you can speak because the deeper the bow,
the more respect do you know what I mean? And
in that moment, George is completely honoring Charlotte and Lady Danbury,
and I think it was really important. You know, again,
it's just subtle writing from shonder, But George comes in,
(13:50):
he's announced, and he comes in and he says Lord
and Lady Danbury, thank you for having me. It's not
you know, it's wonderful to be here, it's thank you.
It's true for having me. I'm the king, that's right,
and I'm thanking you for welcoming me into your home
that technically I own, do you know? You know? But
it's immediately going and paying reverence. Oh wow, you know
(14:12):
you're in charge. George, I think completely understands what it
is to be oppressed. He doesn't understand it in the
same systemic way that Danbury and Charlotte understand, but he
does understand oppression from a concept and feeling marginalized and
like you have to fit into something. I think that's
actually something that subconsciously attracts the two of them from
(14:32):
the beginning. But in that conversation that we don't see before,
George and Charlotte go to that ball, right, and I
think that George was immediately like, I know that I
am anxious in these circumstances, but I need to get
over that to because I know what I can do.
I know my privilege and I know how to use it.
But a beautiful night and then when Alisia Keys came on, Oh, yeah, yeah, melted.
Speaker 1 (14:55):
Is there any way that what you just said as
a young King George is magnify that thinking in terms
of what Queen Charlotte a Bridgeton story represents in the
streaming landscape period, Is there some connectivity there?
Speaker 2 (15:12):
I think completely. I would actually go as far as
to say, I think that's probably the only thing that
is most applicable from story to real life. Representation is
just like immensely powerful. There are going to be little
girls that watch this show that go I can be that,
and then it's our job to make those people real
(15:32):
so that the people that watch it don't see a
caricature that they see, they see positive human, natural, organic
life behind that that representation.
Speaker 1 (15:44):
Something I would just wanted to go back to really quickly.
You mentioned the conversation that we don't see, and you're
talking about the pillow talk moment where Charlotte's like.
Speaker 2 (15:55):
You are so good.
Speaker 1 (15:56):
That is so impressive.
Speaker 2 (16:00):
Thirty second scene.
Speaker 1 (16:02):
But I love that you say there's a conversation because
I think you could take it either way. You could
be like, Okay, Charlotte, Charlotte put it on them and
it's going to get what she wants, or they had
a conversation and have agreed to really be partners in this,
which we see afterwards when young King George is and
young Charlotte is talking after she's getting undressed.
Speaker 2 (16:24):
Right, yeah, exactly. Love that. Yeah, yeah, because I think
if we if we didn't have that scene afterwards where
he's going, you know, this is more change than I
thought I could ever achieved in my lifetime, then I
think that there would be a question, there'd be a
conversation to be had. Is she doing this? Is she
using the role of not in a malicious way, but
is she using the role of George to positively change
(16:46):
I don't think that she is. I think that she
completely has the power to do that, but also George
has the immense power and their understanding of life and
of each other in love. Yeah, I think that's a
dance that is mutual.
Speaker 1 (17:00):
The dance.
Speaker 2 (17:00):
Yeah.
Speaker 1 (17:01):
Yeah. So the scenes you have with the doctor are
anything but funny, But were there moments behind the scenes
that were full of laughter when it came to those
How did you keep it light?
Speaker 2 (17:16):
If you if you did it all, I didn't have
that many funny moments on set. But what was great
was because for me, like you know, I find it
very hard to like snap in snap out, so I've
got to like sort of stay in for me too
of what's going on. But what was so great was
because you know, Tom the director, Tom Erica has such
(17:39):
a freaking wonderful ethos and vibe on set, and everyone
is just you know, people were coming up to us
that had been working and that you know, they were
in the seventies and saying, this is the nicest set
that you'll ever work on. These people are just phenomenal.
So it was lovely on set. It wasn't necessarily like
tons of laughter for me. Sometimes it was. I remember
(18:01):
one time we were filming the scene where Charlotte is
giving birth.
Speaker 1 (18:08):
Oh yeah, I thought Brimsley was really funny in that scene.
Speaker 2 (18:12):
Yeah he is. He is so funny. Tom. I remember
talking about golfing or something, and then for some reason,
you know, when you're so tired, you don't really know
what you're doing. And then I sort of came to
and I was halfway through doing this mock golf swing
in like my Tom Erica impression and American accent, and
then I looked at him and I was like, I'm
(18:33):
so sorry. I don't know, why have I just done that?
Why have I done that? And he found But we
had some great times. Right at the end of shooting
me Sam who played Brimsley, Freddy who plays Reynolds on India,
we rented an AIRBMB for two weeks rather than staying
in a hotel, so just the four of us. Oh
(18:54):
my god, that was so good. That was so lovely.
And Freddy was so spooked. He because he got there
first and it's in the middle of nowhere, maybe seventeenth century,
really old, and he was like, guys, there's some really
weird energy here, you know. And then I got in
and he was like, did you guys feel that cold?
He'd be like suddenly freezing, and then he'd see something,
(19:17):
you know, whatever, and then we started to see stuff.
And then at one point India comes screaming down the stairs, going, guys,
I was just in my shower and all the lights
went on and off and on and off and then
just stayed off. She was panicking and Freddy was the worst.
He was because he was so so scared, right and
then and then one day he just comes down and
he's so straight faced and he was like, guys, I've
(19:38):
made the whole thing up, and it was me doing
the lights and it was me opening the windows, and
I was like, dude, what the hell, why would you?
Speaker 1 (19:46):
Yeah, that's crazy.
Speaker 2 (19:50):
My theory is that he was actually just really scared
and he wanted to make other people feel scared so
that he.
Speaker 1 (19:56):
Have some fun, have some fun, keep it light, yeah, yeah,
shake it off, yeah, because I mean, I mean, some
of the scenes that you're in can be super heavy.
Speaker 2 (20:06):
Yes, jeez.
Speaker 1 (20:08):
Do you have a favorite moment from episode four at all?
Speaker 2 (20:12):
There's a lovely moment. I think it's Reynolds's moment. It's
it's the moment where as a viewer, I went, Wow,
this is the this is the power that this guy has.
And it's the moment where I'm at the dinner table
and I'm starting to crack and there are servants looking
at me and I'm getting goosebumps thinking about it, and
he just comes up and he just lays a hand
(20:33):
on my shoulder and everything relaxes and he takes a breath,
and then there's a change in the music. The music
in that moment is genius. It hits as soon as
George's hand hits the table and it just pans from
Freddie's hand to his face and there's a swell in
the music and you go, oh my god, this man
is carrying everything. The reason that the King is the
(20:54):
thing is because of this man. It's a good color
on this wine, Realise, I shall let the kitchen know.
You're my So this is the genius of Shondre right.
So like she'd taken all the dialogue out and she
just described the whole thing, and then right at the
end she just wrote the line, good color on this wine, Reynolds,
I should let the kitchen know. You might just think
it sounds like nothing, but it's just genius, right, yes,
(21:17):
because here's these two men that are crumbling and they
are surviving by the skin of their teeth, and yet
again they've won the battle, but the war is very
far from over. And we're not going to speak about this.
But I want to tell you that I love you
and I can't do anything without you, but I can't
say anything. So it's good color on this wine.
Speaker 1 (21:37):
Oh my goodness, Corey, Yes, yeah, I love.
Speaker 2 (21:41):
Actually mine and Freddy's first scene together really yeah, So
that was my That was my third day of shooting,
and that was Freddie's first day of shooting, So that
moment I think is my favorite.
Speaker 1 (21:50):
You know, I gotta say, though, you all being able
to read between those lines is I have to commend you.
I mean, it just made that pop because you got it,
you understood the assignment.
Speaker 2 (22:06):
As they say, well, that's very kind, and it's a
testament to Shamba's writing, Yeah, and to Tom's understanding of
how to express an idea and how to communicate that
to actors. And I think that's the genius of Tom's
you know, because he has this buzzzt of you, the
whole narrative. But also he's a fantastic actor in his
(22:26):
own right, so he can talk to you as actors.
He's just genius. And so that I think that's a
testament to the team.
Speaker 1 (22:34):
Yeah, is understanding those moments absolutely. There's also this moment
in episode four and you're facing Michelle Fairley as Princess Augusta.
She has just told you that your bride is on
the way, and you collapse into her arms.
Speaker 2 (22:52):
I was really really nervous for that scene because he
has this argument with his mother and constantly and says,
I don't think that I do need to manif the
goold of the country and to rule George. Fear of
intimacy and his abandonment trauma triggers this panic because suddenly
there's this woman coming. Then he spirals and he starts
to become less and less lucive, and he ends up
(23:13):
on our heap in the floor. So you've got like
an enormous beginning to end there. You know that you
have to wanner as an actor. You know, you want
to honor the truth of that anger at the beginning,
and there's quite a bit of wits in his argument,
and then we end with him crumpled on the floor shaking.
So it's like, you know, I remember going, God, I
don't know how to I've got a snap halfway through
(23:33):
this scene, and I don't know how to do that.
And Tom said, this brilliant thing. He comes up to me,
and this is the genius of Tom again. He says,
what about if you're starting to lose it? But there
is a part of you that can hear yourself and
knows that it doesn't make sense, and knows that there's
a pep there's a line of very important people in
front of you, And then is trying to overcome it
by talking more and making sense of it to them
(23:55):
to go, no, no, no, I am talking about what
I'm meant to be talking about, and I do know
what I'm saying. But in the doing of that, he
hears himself again and it's just getting less and less sensical.
And this is the brilliant thing, you know, because like
acting is like, yeah, there's intention, but that has to
be obstacle. And yeah, the obstacle there is that these
things are coming out, but the need is to convince
them that you are strong, that I'm not losing it,
(24:17):
you know, And there's something so tragic about that. And
it's just a genius note in the moment that he goes, oh,
let's try this, and that's the take that we used.
Speaker 1 (24:27):
Wow, as you described that, it reminds me of how
delicate mental health is and the thinking of someone who
is ailing, just like that, of all of the things
that the show talks about mental health, I think in
a way that's not head on or making a decision
(24:49):
or choice or opinion about it, but it is a
part of the fabric of what is happening in this
family and this life.
Speaker 2 (25:00):
That's life, right, Yeah, exactly. I think more than anything, George,
and his story isn't necessarily an exploration of mental health,
but it is an exploration of a man's relationship to
his own shame and to his own self hatred as
a result of his affliction. Oh, you know, it's the
moments where he comes out and has realized that he's
(25:22):
lost himself and lost his dignity, or believes that he's
lost his dignity. Those, for me are the most tragic moments,
you know, because there's a man who is conscious and
who is lucid, and who has believed that he has
exposed a fundamentally unlovable part of himself.
Speaker 1 (25:39):
Definitely thought it was like a classic impostor syndrome moment
when you are in uniform uniform right before you give
the speech and your hand is shaking. I'm like, wow,
he's really he's filling that suit out with impostor syndrome.
And then you get into the back of the carriage
and you're all curled up. I just remembered that. Oh
my goodness.
Speaker 2 (26:00):
Yeah.
Speaker 1 (26:00):
Yeah, So in the moment where you're in the carriage
and you're curling under, cowering away from the task at hand,
what were you tapping into.
Speaker 2 (26:11):
That moment in the carriage. That was the last take
I shot, oh of the entire project.
Speaker 1 (26:18):
The entire, entire, entire, entire, panem entire thing.
Speaker 2 (26:22):
That was that shot of me collapsing in the carriage,
not the one outside from when Reynolds sees George, but
the one inside as it's as the carriage is moving.
That was shot on an east Enders, which is a
soap opera from from London, on an east Enders sound
stage studio on the outskirts of London, on a green screen,
(26:46):
and that was the That was the very last I
think we maybe shot two three takes of it. It
was very quick, and to be honest, I personally I
don't think it's very healthy to use your own life directly,
but in that moment it was very hard not to
because most of what I was feeling was what the
hell am I going to do after this? I don't
(27:08):
want to say goodbye to this character. I don't want
to say goodbye to working with these people. And I
was feeling very emotional at the time anyway. So when
something is so overwhelming like that and it fits so
perfectly with what you're having to film on the day,
is I think it's a bit of a cheat, and
you know, it's not something that I'm proud of, but
I did. I just completely allowed that to take over.
Speaker 1 (27:29):
So after that scene, did you step out of the
carriage and then what did you see?
Speaker 2 (27:35):
The entire room is just black walls, black floor, black ceiling,
very very high roof, and yes, there's just this carriage
and then like a three walls of green screen and
Leo brilliant cameraman who was crouched down getting some footage
with me, and India actually was there. She came to
(27:56):
my last day. She wasn't shooting, she'd already wrapped the
entire thing. Tom comes up to me and gives me
a very big heart in my ugly For eight months,
basically every day I tapped into that Matt right, and
suddenly that was it that they was very very other worldly.
Speaker 1 (28:13):
Yeah, Corey mill Christ, it has been such a pleasure
to spend this time with you.
Speaker 2 (28:19):
It has been Thank you so much. Yeah, yeah you are, Yeah,
you're very very good at it, and those questions were yeah, so.
Speaker 1 (28:27):
Thank you, thank you so much.
Speaker 2 (28:29):
Yeah, it's absolute pleasure.
Speaker 1 (28:31):
Don't go anywhere. There's more from behind the scenes of
Queen Charlotte of Bridgeton Story right after this. With her
impeccable flair for language, Michelle Fairly has earned numerous accolades
(28:53):
and the adoration of fans worldwide. She has graced both
stage and screen with her unforgettable performances. Is they live
in our minds? Rent Free? Do they not? And now,
as Princess Augusta and Queen Charlotte of Bridgerton Story, She's
added yet another unforgettable role to her already impressive chest
of characters. She's proven time and again that she's a
(29:15):
force to be reckoned with Michelle Fairley. Welcome to Queen
Charlotte the Official podcast. How are you doing today?
Speaker 3 (29:22):
Hi, Gabriel, I'm very well, a little bit nervous, but.
Speaker 1 (29:27):
Yeah, oh yes, yeah, we're gonna jump right into it.
We have to talk about Princess Augusta and the young
King George, and there's just so much that happens in
that episode. And I had an opportunity to speak with
Tom Berica, and what I told him was we already
fall in love with Princess Augusta as the person that
(29:51):
is maybe not the one that you would first think
of to fall in love with but we get to
meet Mama Princess Augusta in episode four. I was wondering
if you had any life experiences or perspectives on Princess
Augusta's role as someone who is losing power with her
(30:17):
adult child, losing power in the grand scheme of this
new union. Could you tell us a little bit about
your preparation and how you fuel that role with your
own life.
Speaker 3 (30:33):
I think, you know, as one gets older, and particularly
in this business, you know, we've all missed opportunities in
our lives that we've wanted, that we would have wanted.
So you just have to get on with it, and
you lose things, and you just have to get over
that grief. And I don't think you ever forget the grief.
(30:53):
It's you know, it's a form of death. Really, you
learn to live with it again. You know, you it
does change you, but you keep going. You have to
keep going. And I think for Augusta, she did not
have the luxury of giving up. She had to fight
for her position within the court. She had to protect
her children so that they would ultimately be royal. She
(31:17):
ate Humble Pie with her father in law to achieve
King George the third position.
Speaker 1 (31:23):
When Princess Augusta reveals her own turmoil in her own
journey to young Lady Agatha Danbury, it gave me chills.
It really gave me chills, And just your delivery of
it was so I felt exactly what you were saying,
that everybody experiences some level of loss and grief and
(31:44):
you don't have to leave the exact same circumstances to
understand that feeling. It just transcends.
Speaker 3 (31:50):
That seems brilliant. I love that you get to see
another side of her, and you know the fact is that,
you know, we just think that she's this hard nosed,
driven woman, but actually she has created a persona around her.
She has a web or an armor around her so
that you actually can't get in there. But that doesn't
(32:10):
mean that she doesn't feel things and that she doesn't
have empathy and she doesn't understand what's going on in
front of her. You know, she can read these people
like they think they can read her, because she's been
in that position. She's been in the position of vulnerability.
You know, she had to secure not only her position,
but her children's position and the rightful position as heirs
(32:33):
to the throne. So she had to plot and scheme
to keep her position there and basically, you know, befriend
a man whom her husband detested and there was incredibly
acrimonious relationship.
Speaker 1 (32:48):
Wow.
Speaker 3 (32:49):
And so when Agatha Danbury comes to her crying her eyes,
I'm feeling sorry for herself. I think, you know, Augusta goes. Okay,
a life lesson for you, young lady. Pah Brandy, I
have it shipped in from Germany. Now, drink and cease
from crying this instant.
Speaker 2 (33:08):
Please, I am sorry.
Speaker 3 (33:12):
I no, I do not want to know your burdens
or hear what problems plague your life.
Speaker 1 (33:18):
No do I care, Michelle. That is one of my
absolute favorite moments in the entire series when you pull
out the pear Brandy. Oh my goodness. I had to
press pause and walk around because it was just so good.
And the thing is, I kept asking myself after about
(33:42):
seven times watching it, who is there for Agatha? Who
is teaching Agatha how to navigate this society and her
role as a woman. And it's Princess Augusta. I just
literally just now realized the answer is it's Princess Augusta.
She's there.
Speaker 3 (34:00):
There are different generations for a start, that come from
different countries. Their life experiences are completely different. But you know,
they are still women and they're struggling, and they have struggled,
and it's about how you're going to cope with the
continual struggles that life is going to throw at it,
do you know what I mean? You can't just cry
(34:21):
all the time. You've just got to sort of like
have a backbone, get on with it, take the blow
and learn from it. But also as well, don't show
your weakness. Don't show your weakness, particularly in court.
Speaker 1 (34:31):
Yeah. I really hope that anyone who watched that scene
is able to recognize someone in their life who is
that a Princess Augusta for them?
Speaker 2 (34:43):
Yeah?
Speaker 3 (34:43):
Absolutely. I mean it's like being cruel to be kind,
you know, It's as simple as that, basically, do you
know what I mean? And you know Augusta, you know,
she has strict rules, but she's not a cruel person.
She isn't cruel. She she genuinely has empathy for women.
But she's a tough task master because she's had it tough.
(35:06):
And I think that's just the way she is, that's
the form that she has molded into through her own
life experience. But she's an intelligent woman. She's you know,
navigated her path pretty well so far. And I don't
think she ever thought of herself as a as a
sort of a particular sort of guide, because it doesn't
(35:30):
happen with Charlotte. And it's two different types of thinker
clashing threads, you know, and it should be this way. No,
it's definitely this way because that's the way it's always
been and that's it. But I'm the young one, I'm
the new one. I want to change things. And you
see both sides of the argument. But I think for
her there is regret because she wasn't able to change
it and have it her way, you know, but she
(35:52):
had to toe the line. But she did that for
her children.
Speaker 1 (35:56):
Yes, because of your illustrious career, I'm curious if you
had a Princess Augusta or a Pear Brandy moment.
Speaker 3 (36:07):
Oh I've had so many?
Speaker 2 (36:08):
Oh got yeah.
Speaker 3 (36:13):
I mean we all have warbble lefs, you know what
I mean, some of us more than others and some.
I mean that's part of every job you do. You
have a wobble you know, it's like, oh my god,
how did I get here. What am I doing here?
I'm an imposter? You know, I'm to get fired. You know,
that's it. He constantly have that dialogue.
Speaker 1 (36:32):
Is there a story you're willing to share with us
about a pair brandy moment?
Speaker 2 (36:37):
Oh god?
Speaker 3 (36:38):
Oh well, I personally I don't drink brand, I mean,
oh god, yeah, I mean there's so many. I did
a play years ago. The brilliant Harold Pinter directed it,
and it was and and I was terrified. Absolutely, it's
(36:59):
a two hander, and I was absolutely terrified. Harold had
a fridge in the rehearsal room, so he would go
and open. There always be some lovely wine in there.
And I was too terrified, didn't even have a glass
of wine. But Harold Pinter got me through it, as
been the brilliant Dennis Lawson as well, so you know,
(37:19):
without them actually knowing it. But that's just fear of
the unknown. And that's what I mean about everybody having
a warble on every job that they do.
Speaker 1 (37:27):
Well, I know I do.
Speaker 3 (37:28):
And then you realize just how lucky you are do
you even have the job, and you should be so
bloody grateful.
Speaker 1 (37:36):
That's a really that's a great story, Michelle. I was
wondering if you could help me understand a little bit
about the Great Experiment. I feel like I'm unable to
grasp why Princess Augusta cares so much. I mean, yes,
she wants to ensure her line, but why does she
(37:57):
care so much that these two so societies become the
ton What is in it for her?
Speaker 3 (38:04):
My taking of it, the Great Experiment was to show
that they are an open society. I mean, it's a
very arrogance of them, you know, but I know that's
a tongue in cheek from a Shanders, you know, considering
that that is an experiment. The great experiment is the marriage?
You know, is the marriage going to work? You know,
(38:25):
this has to work, This has to work for the
line to you know, to continue.
Speaker 1 (38:31):
Maybe that's like the magic of it. Because I was
always watching your performance like what is this woman up to?
Why does she care? And yeah, you you absolutely kept
us super curious in wanting to get into your head
all the way to the end. The moment that you
walk up to young Queen Charlotte played by India in
(38:55):
the final episode and you kind of like pass on
the torch mm hm, yes, yes, yes, I felt like may. Okay,
maybe maybe she feels like her work is done, and
maybe she is just this this I don't I don't know.
I can't put my finger on it, but I think
that is what makes me a little obsessive about Princess Augusta.
Speaker 3 (39:17):
From my point of view, that was the moment when
she's finally accepted Charlotte, I think, as you know, as
an equal in terms of what she can do, you know,
because I think Augusta's main love is her son is George,
and trying to protect him throughout his entire life, and
(39:37):
being mistrustful of Charlotte in the first place, and not
allowing her the knowledge of George's Millard, and so seeing
how Charlotte has developed with her and her acceptance of it,
and not only the acceptance of it, but in terms
of dealing with it, and and just watching this these
(39:59):
two young people fall in love, have mutual respect for
each other, and treat each other with respect in a
way that Augusta hadn't experienced. So that moment basically a
thank you to Charlotte.
Speaker 1 (40:13):
Wow, thank you wow. Okay. I also have a thing
for how stately and large you can still remain within
these huge spaces. Maybe it's your costume, maybe it's the
(40:33):
timber of your voice, but you just fill the space.
And I'm wondering if there was anything about the costume
design that influenced your physicality. I saw you as almost
like a chess piece, like you are moving a lot
while you were making all of these like chess moves
with your mind.
Speaker 3 (40:53):
That's really kind.
Speaker 1 (40:54):
Thank you.
Speaker 3 (40:55):
I think the costumes are extraordinary, and I think then
Polo and her team were just it's incredible in what
they achieved and how they constantly, you know, had delight
and joy in creating costumes for Augusta because she's the
elder states person there.
Speaker 2 (41:14):
Do you know what I mean?
Speaker 3 (41:15):
So she can have apart from the bridgeton Queen, not
young Charlotte, because she she's the head woman. So there
is definitely a contrast between the younger characters costumes and
Augustus costumes because she's old school and yeah, so there
was more pomp and ceremony there and more chance to
be sort of ott as well. And it's also a
(41:39):
chance for her to show off of her position and
you know, you know, and she's to be respected. But
I think as well, is that what lovely thing of
sitting in state, you know, in her home.
Speaker 1 (41:52):
I was wondering, are you wearing a wig?
Speaker 2 (41:55):
Me?
Speaker 1 (41:56):
Yes, are you wearing?
Speaker 2 (41:57):
No? Oh? No, sorry?
Speaker 3 (41:58):
In the production Michelle, Yes, i am, actually I am.
And it's the first time ever in my career I've
worn a wig. I've had, yeah, I've had hair pieces
and things like that, but never a full on wig.
And when we were doing the camera tests, one was
(42:22):
the one that I ended up having all the time,
and the other was a white one, which I personally loved,
but I think they the decision was made, no, you're
not going to go with that one. We'll keep her
with the dark hair. And they used to change it
ever so slightly depending on the they sit. You you know,
(42:44):
if they were going to a ball, or if it
was just tea, or if it was just you know,
a normal meeting, or if it was the wedding. You know,
there'd be lots of little intripate. Once it was on,
it was stayed in place. It was made for my
head as well, and it was so comfortable and the
real hair as well. So I was very very privileged
(43:07):
position to have a wig made and also you know,
to have the amazing hair and makeup team to sort
of whip it into shape every time I was wearing it.
Speaker 1 (43:19):
Oh yeah, there was an overhead shot of you in
episode four and we got to see all of these
coils and curls on your head and I was just like, wow,
that is in trick it. That's a lot. It was
really beautiful.
Speaker 3 (43:32):
Absolutely, And then they had these little you know, the
little ringlets that are the side of the ears, right,
I think I went from sort of like two to
possibly fall depending on the occasion. You know, those were
separate you know, that could be clicked in, you know,
attached to the wig and so, and then there was
(43:53):
always keeping them, you know, so that they don't become
too droopy, you know, as the day goes on. So
if you weren't you know, if you were on camera,
you'd have a massive, big sort of like beehive or
you know, netting all over you to keep to keep
the keep the wig in place, and also to keep
your ringlets from drooping, you know. So, yes, Staggy old
(44:15):
pair of nights. At the end of the day, there's
a lot of work that you don't see, you know,
been a massive team of people to achieve that.
Speaker 1 (44:23):
Michelle FAIRLEI thank you so much for your time and
for your your artistry. We love seeing you on screen,
and I again thank you for Princess Augusta and all
of those moments that gave me chills. We are so
happy that you joined us today.
Speaker 3 (44:44):
Brill thank you so much. Indeed, it's been a pleasure
and a privilege to talk to you, and thank you
for the time and for your questions.
Speaker 1 (44:53):
Michelle, you have once again left us in all it
was a privilege to speak with you today. And thanks
to the enchent Corey Milchriest again for Unearth and King
George and speaking from the heart. Make sure you come
back because on the next episode, Aja will end all
bequeaths the knowledge that deepens our understanding of the Great
Experiment and Lady Danbury's backstory.
Speaker 4 (45:16):
How do we survive on a pragmatic level, How do
we survive on a spiritual level, How do we survive
on a psychological level? We have to make relationship where
we can. Human beings are built to be in communion
with one another. You put a bunch of women on
tour together for long enough, we'll all have our periods
at the same time. You know, we're biologically made to
(45:38):
be in communion, and so when you are the only one,
which when you're you know, which is an experience that
many people of color will have. You know in the West,
you need to make your alliances where you can, and
you need to be generous and open hearted and strategic
(46:00):
because it's your duty to get in a position and
then you help the next generation.
Speaker 1 (46:05):
I can't wait for you to hear her story. Queen
Charlotte the Official Podcast is executive produced by Sandy Bailey,
Lauren Homan, alex Alja Tyler Klang, and me Gabrielle Collins.
Our producer and editor is Tarry Harrison. Subscribe to the
podcast anywhere you get your favorite shows. Get the book
(46:27):
I'm a Crispy Turn the Page, Smell the Binding kind
of Queen. But you can download it and you can
find Queen Charlotte, a Bridgeton story on Netflix. We'll see
you next week. Queen Charlotte. The Official Podcast is a
production of Shondaland Audio in partnership with iHeartRadio. For more podcasts,
(46:49):
visit the iHeartRadio app, Apple Podcasts, or wherever you listen
to your favorite shows.
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