In the first part of my exciting meeting with the stars of The Other Boleyn Girl I found out about their experiences of making the movie and Eric mischievously teased Scarlett about her research attempts, which mainly revolved around reading the novel. Have you read the book, or are you about to start? If so you should definitely check out Buzz's book club – It's a great way to get even more out of it.

In this installment Eric, Natalie and Scarlett speak about accents, England and their Brit director Justin Chadwick. There's even more to come next week, so be sure to keep checking back to PopSugarUK to read their responses.

You all had to learn accents for the roles, do you think it was more difficult to do an upperclass English accent rather than another kind?

SJ – All are difficult, for Natalie and I as Americans, it places a restriction on the intonation and, whether it’s upper crust or common, it’s still very foreign. Americans have a tendency to emphasise every single word that we say, whereas [with this] there are choice words placed delicately for emphasis. It’s a challenge, but it’s a fun one.

NP – It was definitely an extra challenge, but we were lucky enough to have an great dialect coach on the film who guided us through. I actually think that doing something more posh – an exaggeration of what we think of as British – is more clear in my head than doing more of like a modern urban dialect, just from the British movies and television I’ve seen.

To find out Eric's accent experiences, how they found working with Bleak House director Justin Chadwick, and to see photos of Natalie at the David Letterman show, read more

And Eric, you smoothed out your vowels.

EB (In an exaggerated accent) – What you talkin’ about mate? What’s all this about? I fink it’s ‘ard, I mean, everytime I go an’ do a movie I gotta get rid of it all. It's just anover feather in my bow, so to speak, y’know? (back in normal voice, others are laughing) No, it’s always hard, but in my case – rather than the girls, because they’re lucky enough to be American – every time I go to work I have to do it, so it becomes part of the job. It’s an extra challenge and an extra tool you have to think consciously about [when you're] getting into character. So whilst it does require more work, it also is maybe even an advantage to a degree. It forces you to switch, it forces you to consciously jump in and out of a character.

How was it working with your British film director Justin Chadwick on his debut movie?

EB – Justin was brilliant. I love working with people who have television experience as there’s an efficiency and methodology that comes from that background. Having seen Justin’s work on Bleak House I knew that he’d be incredibly well-prepared and interesting stylistically for this, and that was most definitely the case. He creates a very loose, liberating environment and is a great collaborator. I loved working with him, he was very smart in how he assembled people around him and had a crew that he knew very well. So he was very comfortable on set so I never felt like I was working with a first-time film maker.

NP – The film was shot digitally which is really unusual for a period film, I think it might be one of the first period features to be shot digitally, so he and the crew were so meticulous and watching in this darkened tent so they could see everything. I think they succeeded on such a grand scale of making it look as beautiful as it could have looked on film, because digitally it’s hard not to make it look too sharp. He’s just a lovely human being, and he brought a modernity to the way the film came out, he brought the pace and the real emotion. It doesn’t feel as removed as period films can feel, I think.

SJ – I’d seen the Bleak House series, which was so riveting, I loved it. He said to me -"Look, I’ve been an actor before, and I want to make certain that within the craziness of the costumes and the sets and the locations and all this, that we really find the humanity of the story. I don’t want to make a 'Men In Tights', masterpiece theatre type of thing, I want to find the human quality of the story." - And I think he was really successful in that. I really appreciated that he maintained that integrity throughout production and was always trying to fine the humanity of these scenes instead of just the melodrama and the rivalry, he wanted to find the deeper human connection between the characters.

NP – And the locations were amazing – we got to film in all these 16th Century buildings. At Dover Castle we had a big crane shot, and there was a wind tunnel during certain hours in the day, at 3pm they’d be like ‘Everyone Inside!’ and hooped skirts would be flying up. The crew all had hard hats on as it was so dangerous to walk through this thing, whereas they send the two of us in bareheaded in our little wigs. It was funny!

There's even more to come from Natalie, Scarlett and Eric including their thoughts on the status of women in the days the film is set versus now, and what Scarlett's up to in the future in both music and movies. Also here's some photos of Natalie's appearance at David Letterman last week, Pop US has all the gossip on it, as well as a video of her appearance!

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