I have to ask this question because it's part of our early history. Shakespeare, Stratford 1953, Alec Guinness Douglas Campbell. English. English accents. Here's a whole bunch of Canadian lads and lasses with Ontario accents, Alberta accents. How were those accents put together? Because after a while people seem to think that you had to do Shakespeare with some sort of English accents. The Canadian accent or the Ontario accent wasn't good enough. Was that tension there or how did Guthrie deal with that? Well, generally speaking he's seen to approve. He did approve of quite a lot of quite a lot of, they went bad speaking. There was a lot of very good speaking. These people are not totally incapable. I mean, Ellen Stewart was a voice teacher and a very good one. And she had taught a lot of these people. And well, you went conscious of her, they were talking like mad a lot. You know, wasn't it? Everybody was making some effort to sort of modify their local accents. But Guthrie encouraged the pronunciation of words like glass rather than glass, which is English. Glass. Glass. He said glass. As we say it, now it's a glass. It's not a glass. It's a glass. So the natural parts of speech that Sujid, he didn't make any attempt. The only kind of thing he would be awful about would be, you know, do instead of do. And what about the hard hours after us that to watch her watch her? Well, I think that is, I still find a major problem is getting more and more than people of, even English people, frightened of the letter R. And R is a very, it's a letter of that they're afraid of. So that you say mirror, because you wouldn't say mirror. But that's the R in the middle of mirror. What about the R at the end of mirror? Mirror. And you soften the R mirror. No, because you're mirror. You didn't say mirror. No, I don't say mirror. Mirror. And I don't say mirror. You're translating the I into an E sound is because of the fear of the Ahas that are coming up. Mirror. Mirror. What about war? War. Again, it's just laziness. You haven't had the war. You put, you don't get war. No, a war. War. Yes, I'm saying war. But I'm not saying war that, well, if I'm a Scotts, I say, it's a war. War would be Scots. And Irish is war. And Irish is war. War. That's us. That's us. That's our, they cut off the, the Irish cut off the I have to say war. They're lazy about the I have to do. But did you have a R that we have? Yeah, it's like, it's a kind of funny I, you know, it's in the back of the teeth that I'm there, you know, right back here. All that sort of thing, you learn if you really know what the phonetic language is, you read it and see how you make that sound. Then you find out it gives you the placement and the mouth to make it. So you understand something of the character, the key. But phonetics doesn't tell you where to put the sound. Well, nobody if you try to make the sound like a phonetic or a sign will say this is pronounced O-E, like O-E. O-E. O-E. I suppose I can do that in the middle of my mouth. But if it's O-E. But O-E. O-E. O-E. Now, what does that do to me as a character? If I make him sound like that, we change the nature of who I am. You know, or even though I might be a kind of person, for quite farth-right. But it gives me a character though that it has a distinction. It's not quite as farth-right as I'm talking like that, which opens up the face a bit more. Where the sound of something can change the idea of how the place could change the face of the shape of the mouth. And out of that character can grow. It's the resistance to using the sounds. Imitation is not a bad thing in the theatre. That's the point. Imitate and then learn to make it your own. But if you don't imitate, you're not going to be able to present it. So the American accent. Well, how American accent, I'm not very good at real. If you put me down in the South, I can get down there. I suppose I can do something as passable as that. Maybe you're a phonetic, Stegris. I'm doing it by ear at the moment. But what I think is, if I were really working at something, I would like to write it out phonetically and learn it phonetically. So I found out how to get the sound, what it did to my face, what it did to my jaw, what it does to the way I... What does it do when I'm putting on side of it, you know, anything, getting up in my head and then what does it do to my face, what does it do to the whole general principle of what's going on inside me. It's none of it disrelated, it's all related. All these things go together to make it work. But you have to perhaps take them one at a time and then put them together.