Richard E. Grant – Official Website

ACTOR…DIRECTOR…AUTHOR…LEGEND!>>>>REG Temple

Welcome To The REG Temple

The REG Temple is the official website for actor, author and director Richard E. Grant.

Richard has appeared in over 80 films and television programs, such as Withnail And I, The Scarlet Pinmpernel, Jack & Sarah, L.A. Story, Dracula, The Hound Of The Baskervilles, Gosford Park & The Iron Lady. In 2005 he directed his first major release, Wah-Wah.

This website is unique in that it has been run and maintained by volunteers and fans since 1998. For more information on its origins, please click here.


Iron Lady? Not Quite. Mrs Thatcher Sang Abba’s Greatest Hits To Me, Says Richard E. Grant

April29

The Daily Mail – 29th April, 2011

By Frances Hardy

Drama: In Hollywood and established himself as a powerful character actor. His range encompasses a diverse array from The Player and LA Story to Gosford Park and Bright Young Things.

Oscar-winning actress Meryl Streep, attired with uncanny accuracy as Margaret Thatcher, is shooting a scene from the forthcoming film Iron Lady.

Striding down a parliamentary corridor in power suit and pearls, her blonde wig coiffed to replicate the distinctive Prime Ministerial hair-do; her voice crisp with authority, Streep, it seems, has perfectly caught the power and allure of our first female PM.

But then the cameras stop rolling and an unexpected transformation takes place. She shrugs off the mask of political gravitas, kicks the air with her court-shoed heels and bursts into a chorus of Abba songs.

Richard E. Grant, who plays Mrs Thatcher’s political nemesis Michael Heseltine in the film, watched with amusement and delight as Streep — who won plaudits as Abba-loving Donna in the blockbuster movie Mamma Mia! — performed an impromptu medley of songs from the film.

“We were doing a scene in which Mrs Thatcher walks down a corridor with a group of ministers. Between shots, Meryl, still suited and bewigged as Mrs T, sang the Abba hits. It was so incongruous and hilarious and it sums up her humour and sense of mischief. It’s naff to say it, but Meryl makes you feel better about yourself,” says Grant.

“As an actress, she’s the best of the best. But she’s also unbelievably down-to-earth. She knew everyone on the set by name. She’s appreciative of what other actors do. She has no entourage. It’s like working with a British theatre actress: very unexpected and disarming in someone who has 16 Oscar nominations and two Academy Awards in the bag.”

“The legend precedes her but she undercuts it all the time. It’s endearing. Having seen every film she’s been in, I expected her to be much more serious. Steve Martin [who starred with Streep in It’s Complicated!] told me she was an irrepressible giggler – and it’s true: she is a constantly erupting volcano of laughter. She has this incredible sense of humour – which came out when she burst into that Abba chorus.”

Grant, too, is not quite as I’d expected. Anyone recalling his breakthrough in the cult film Withnail And I – which propelled him to fame 24 years ago – associates him with the unhinged, irascible drunk of the title.

Then he went to Hollywood and established himself as a powerful character actor. His range encompasses a diverse array from The Player and LA Story to Gosford Park and Bright Young Things. He is now both screenwriter and director, living in Richmond, Surrey, with his wife of 25 years, voice coach Joan Washington.

On song: On the set of Iron Lady, Streep (pictured centre) – who won plaudits as Abba-loving Donna in the blockbuster movie Mamma Mia! – performed an impromptu medley of songs from the film

Last winter, I interviewed him on set in an icy school hall playing a sinister headmaster in the forthcoming Horrid Henry: The Movie. After we’d exchanged a few terse words, I had him down as aloof. But later, off set, he was engaging, funny and disarmingly frank.

A fortnight after he finished filming Iron Lady we meet again. His dark hair still bears traces of the Heseltine-esque blond mane. Mercifully, though, he has discarded the stuck-on eyebrows. And now he is assuming a new role. Midway between an English master and a benign Simon Cowell, he is to mentor a gifted new screenwriter.

In the run-up to the 2012 London Olympic Games, Grant is teaming up with British Airways – the Games’ official airline partner – in a competition to find a bright, emerging writing talent. The winning script will be made into a short film to be shown on flights and screened at the opening ceremony.

“Hopefully, it will flush out something exciting and original,” he says. “The film will have a global platform which will be unprecedented for a newcomer, so I can’t think of a better way to help someone with their first try.”

Grant, who turns 54 next week, is lean, long-legged and still a keen athlete. The prospect of next year’s Olympic hoopla clearly excites him hugely. “I was in Sydney for the 2000 Games and the ebullience and positive feeling was extraordinary. I’m really hoping it will provide the kick up the pants London needs.”

I wonder how assiduously he researched Lord Heseltine after landing the role. Did he meet the man? “No, but I read his autobiography. And I spoke to Sir Richard Needham, who worked with him as his deputy. I watched him on YouTube, too.”

Striking: There has been criticism of the casting of Streep, an American, as Mrs T when we have home-grown acting Dames who would have tackled the part with equal authority

“I’d heard Bill Nighy had been up for the Hezza role but was rejected because he was too old. Or perhaps he didn’t have enough hair?” hazards Grant. “In any event, I’m grateful.”

There has been criticism of the casting of Streep, an American, as Mrs T when we have home-grown acting Dames – Helen Mirren and Judi Dench spring to mind – who would doubtless have tackled the part with equal authority.

“I think Meryl was right for it,” says Grant firmly. “She sounds completely like Mrs Thatcher. Her transformation is pretty astonishing; discombobulating, when you see it close up.”

There has been critical speculation that the film will take a Left-wing stance against Mrs T, and distort her achievements. But people working on it insist that the portrait is balanced.

“In fact, I was told, whether you agree with her or not, Mrs Thatcher evokes a great deal of sympathy and understanding for what she went through while she was fighting her battles. She comes across as very human.”

Grant, born in Southern Africa, came to London when the Iron Lady was at her peak. “It was 1982 and the ships were just sailing to the Falklands. I was 25 and I got a job as a waiter in Covent Garden. It was gruesome. People were rude and impatient. I’m grateful I only had to endure it for six months.”

He came to the UK in part to escape a troubled childhood. Although his family background was affluent – his father was a Minister for Education, his mother a ballet dancer – it was blighted by horrors.

Richard was ten when he woke from a doze in the back of the family car to find his mother having energetic sex on the front seat with one of his father’s best friends.

Later she abandoned Richard and his younger brother to her husband who, distraught at her betrayal, fell into violent alcoholism.

Once, when teenage Richard attempted to halt his father’s drinking by pouring his whisky down the sink, his dad pursued him round the garden, peppering the air with bullets before holding the gun to his son’s head.

Grant recorded the abuse in his diaries: turning them into his 2005 film, Wah-Wah, which he wrote and directed. Small wonder, I say, that he is famously teetotal and monogamous. But he denies the link.

“That should be the reason why I don’t drink,” he says. “But actually I can’t keep any alcohol down. I get violently ill. I don’t have the enzyme to process it. So I don’t know how drinking escaped me, but you don’t miss what you’ve never known.”

As for fidelity, it’s a given. “Of course I’m monogamous,” he says, seemingly surprised when I suggest the actorly world he inhabits offers temptations to stray.

“I’m always amazed by people who have open marriages. I’d be out there with a machete. And yes, I am influenced by the damage I saw wrought on my father by my mother’s infidelity.”


Spot the difference: Grant will play Michael Heseltine opposite Streep In Iron Lady. “I’d heard Bill Nighy had been up for the Hezza role but was rejected because he was too old. Or perhaps he didn’t have enough hair? In any event, I’m grateful”

A shared personal tragedy also strengthened his marriage. Although he and Joan have a daughter, Olivia, 22, together — she is studying creative writing at the University of California, Berkeley — they lost a premature newborn baby girl, Tiffany.

“My wife had three miscarriages and then Tiffany. She’d be 25 now and she only lived for half an hour. She was born at 28 weeks and today she might have survived. But then it wasn’t feasible.”

“I think like any grief you don’t get over it, you go round it. It is part of our history and certainly if I read of other people who have gone through similar experiences, it’s always upsetting. If we’d never had a child it would be more difficult but because we do have one, that ameliorates it.

But grief never goes away. “We still talk about Tiffany. We still honour the day she was born and died. When something like that happens, it binds you to the person you’ve shared it with.”

Grant is clearly a doting dad to his cherished daughter. I suspect he’ll be a conscientious and helpful mentor, too.

“I know from when I was young, having a teacher who believes in you stays with you for the rest of your life.” he says.

“My own mentor died three years ago. She was Bunny Barnes, my English and piano teacher. After I left school she encouraged me to write and act. Having someone outside the family who is nurturing and constructively critical is absolutely invaluable. So this opportunity to tutor a screenwriter whose talent has not yet been discovered, is something I really look forward to.”

posted under 2011, Articles

Secrets Of The Arabian Nights

April21

21st April, 2011


Copyright BBC/Media Fire.

The Arabian Nights first arrived in the West 300 years ago, and ever since then its stories have entranced generations of children and seduced adults with a vision of an exotic, magical Middle East. Actor and director Richard E Grant has been a fan of the stories in 1001 Arabian Nights since he was a child. He wants to know why the book he loved as a child still has such a hold on our imagination.

Now he’s revisiting the book and discovering that it has always been a controversial text (there are some who would like to ban it today), that Scheherazade’s stories originated from far and wide along ancient trade routes, and that its tales of princes, genies and robbers helped shape the west’s view of the Middle East. In this documentary, Richard travels to Paris to discover how the stories of Sinbad, Ali Baba and Aladdin were first brought to the West by the pioneering Arabist Antoine Galland in the early 18th century. The Nights quickly became an overnight literary sensation and were quickly translated into all the major European languages. Richard then travels to Cairo to explore the medieval Islamic world which first created them.

He quickly finds that some of the stories can still be deeply controversial, because of their sexually-explicit content. Richard meets the Egyptian writer and publisher Gamal al Ghitani, who received death threats when he published a new edition of the book.

He also finds that the ribald and riotous stories in the Nights represent a very different view of Islam than fundamentalism. Can the Nights still enrich and change the West’s distorted image of the Arab world?

Given its status as a children’s classic, it starts with a grisly premise: Scheherazade’s husband, the king, takes a different virgin for his bride each night and has her executed in the morning.


Copyright BBC/Media Fire.

posted under 2011, Television

Scenes: Secrets Of The Arabian Nights

April21

Some scenes from Secrets Of The Arabian Nights, in 6 parts.

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[pro-player image=’http://www.richard-e-grant.com/Multimedia/Films-TV-Theatre/Scenes/SecretsOfTheArabianNights-Part5.jpg’]http://www.richard-e-grant.com/Multimedia/Films-TV-Theatre/Scenes/SecretsOfTheArabianNights-Part5.flv[/pro-player]

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posted under 2011, Scenes

Richard E. Grant Narrates The “Secrets Of The Arabian Nights”

April20

BBC.co.uk website – 20th April, 2011


Copyright BBC/Media Fire.

NOTE: A short video at the BBC website (viewable to USA) can be found at the BBC Website. Listen to REG narrate the program. He makes an appearance in this excerpt of the show at the 1:50 mark.

When the first edition of the Arabian Nights arrived in Britain in 1706, it took the country by storm.

Translated from Arabic and in to French by French scholar Antoine Galland, it is believed he then added his own stories and embellished tales he had heard, before his book was translated in to English.

Richard E Grant found the high society of the 18th Century embraced Arabian fashions and style.

Secrets of The Arabian Nights is on BBC Four 21 April 2100 BST.


Copyright BBC/Media Fire.

posted under 2011, News

Richard E. Grant Unravels Origins Of The Arabian Nights

April20

BBC News – 20th April, 2011

The Arabian Nights introduced readers the world over to a bewitching world of magic, genies, evil spirits and iconic heroes. Actor Richard E Grant investigates their origins and examines their enduring appeal.

The Arabian Nights story that most transfixed me as a boy was Ali Baba and The 40 Thieves.

It appealed because there were caves near the house where I grew up in Swaziland, so a story that featured a cave full of hidden treasure, that could be “opened and closed” with the magic words “Open Sesame” seemed more immediate than other fairy stories I had read.

Its horror content, specifically Aladdin’s brother Cassim who forgot the magic words to get out of the cave – resulting in him being murdered by the returning thieves and his body being cut up into pieces – was monstrously pleasing and terrifying to me at that age.

It was also a good bogey-man image to conjure up when my father warned me about what would happen if I stole anything.

The story of the old tailor Baba Mustafa secretly sewing Cassim’s body back together again for his funeral has haunted me ever since.

As has the servant girl Morgiana outwitting the villains by pouring hot oil over their heads while hidden in oil jars.

It was surprising to discover during the making of a documentary for the BBC, that the veracity of Ali Baba has been questioned.


“The elements can conjure up sand or wind storms in an instant… these acts of nature could be… interpreted as the actions of Djinns (genies)”
— Richard E Grant

When Antoine Galland, the much-feted French Orientalist translator of the Arabian Nights, charmed Parisian society in the 18th Century with his translation, Ali Baba was one of the most popular tales.

Antoine Galland claimed that he had heard the tale from a Middle Eastern storyteller from Aleppo, Syria.

Other academics have claimed that Galland invented the story, although the celebrated explorer and Orientalist Sir Richard Burton also confirmed that the story was part of the original Arabic manuscript (see box).

Galland’s original manuscript is a small black book, kept under lock and key at the National Library in Paris.

The proprietorial curator wore surgical gloves to handle the book.

Unlike 18th Century English, it was easily readable in French, which does not seem to have changed much in the past three centuries.

She explained that there was academic controversy about the provenance of Ali Baba, but that whether it was an invention of Galland or not, it fitted within the canon of the tales.

Trying to pin down the origin of stories that have passed down orally is akin to juggling with water.

The tradition of oral storytelling and embellishment down the centuries makes perfect sense when you consider that tribes of nomadic people travelled across North Africa to the Middle East and beyond to India, putting storytelling centre stage around camp fires in the evenings.


Conservatives in Egypt tried to have the tales banned for being anti-Islamic

Anyone who has ever played that game where one person whispers the beginning of a story into someone else’s ear and they then have to repeat and add to it, will know how a story evolves and expands very quickly.

Likewise, the oral tradition of repeating the stories that make up The Arabian Nights, told by different people over a period of 10 centuries, will be hugely variable.

Many stories involve poor people defying tyrants, genies, evil spirits and adverse physical conditions to win the hearts of their true love or monetary riches.

Spending any time in the Sahara desert makes it clear how the elements can conjure up sand or wind storms in an instant, and it does not take rocket science to work out how these acts of nature could be re-configured or interpreted as the actions of Djinns (genies).

Two years ago, religious conservatives in Egypt attempted to ban The Arabian Nights on the grounds that they were too sexually permissive and anti-Islamic.

Prompting public outcry and fierce opposition, especially from academics, the ban was overruled.

The Egyptian Attorney General ruled it was one of humanity’s greatest treasures.

The more violent and sexual aspects of the stories were watered down in Galland’s translation, and the panto versions we are so familiar with from childhood are testimony to this self-censorship.

However, the mixture of exotic locations, paupers and tyrants, magic and malarkey has proved to be a potent combination and accounts for the Nights’ continuing popularity.

Word Of Mouth

The tales have their roots in oral storytelling thousands of years ago including folk tales from India and mystical stories from Persia.

They were carried and spread by traders travelling on the great trade routes of the East where they began to take shape.

The oral stories were collected and written down in the great cities of Baghdad, Damascus and Cairo.

In the 10th Century, an Arab historian recorded the tales and called them A Thousand Nights.

The earliest manuscript of the tales is in Arabic and was written in Syria in the 14th Century.

French traveller and scholar Antoine Galland translated it from Arabic in to French in the 1600s.

He began with Sinbad the Sailor, which was an immediate sensation in Parisian high society.

After fans stood outside his house and demanded more, he is believed to have written more stories and embellished others, such as Ali Baba and Aladdin.

In 1706 an anonymous translation of Galland’s book called The Arabian Nights arrived in Britain.

Records show the first theatrical performance of Aladdin was held in 1788 in London’s Covent Garden.

Secrets of The Arabian Nights is on BBC Four 21 April 2100 BST.
Images Copyright BBC/Media Fire.

To see clips from the show, click here.

posted under 2011, Articles
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