Henry VIII

The DVD looks terrific, as it should, since it's fresh off the presses, and the stereo sound is sumptuous.

The extras package is a bit of a disappointment, not that it's boring, or anything. An unseen interviewer has been given the freedom of the set for a day. The result is talking heads in costume, except for Harries (laid back and doing the soft sell) and Travis (busy, bright, curly).

The On Location mini-doc shows a scene between Emilia Fox, as Jane Seymour, and Ray Winstone around a four poster. The problem is, where's he going to sit? Beside her, in front of her or with his arm under her? Travis, the director, is there, but Winstone appears to be making the decisions.

Fly-on-the-wall surveillance techniques destroy the illusion of moviemaking. It's so technical and cluttered, lacking spontaneity. You wonder how the actors manage, with all these people around, holding things in their faces and measuring stuff, when they are supposed to be behaving as if they lived five centuries before jeans were baggy and tee shirts had Meat Loaf on them.

The interview section suffers from what might be called the curse of PR. It looks genuine, and probably is, but everyone goes on about the wonders of Winstone and what an inspired choice he was - that's true - and how much they are enjoying the experience of working with him blah blah on this rather special film. Executive producer Andy Harries put it this way: "Hollywood doesn't produce actors like Ray." They do, in fact, but they tend to be Italian-American. "Helena was vital," he adds. "She brought in the money." It's always useful to have someone doing that, otherwise movies don't get made, or rather they do, but on starvation wages.

Instead of being asked questions about the making of the movie, or feelings about costume drama/TV mini series/the UK film industry et al, the actors have to discuss the characters they play, which is not what you are interested in, because, having watched the film, you have come to your own conclusions about that.

Sean Bean is surprisingly shy and self-effacing. Intellectually, he's on the factory floor: "A sword and a horse, it's great!" Helena Bonham Carter expresses herself fluently on the subject of Anne's use of sex appeal. Occasionally, there is the flash of a smile, but, on the whole, you get the feeling that she finds this talking-about-her-role a pain, something one does to keep the marketing bods happy.

David Suchet adores to talk. He's a small man, not that that makes any difference, but having a trapped audience, like now, with a camera in his face, is like an ego massage for free. He is VERY charming.

"I love film," he oozes. "I love the whole business of research. I have been so lucky to play characters of interest and it is the public I thank for allowing me to play different people." Them and casting directors, no doubt.

Pete Travis speaks as he works. His fascination for his subject is obvious. "It's like these people are living in a war - passion, sex, violence - living each day as if it is your last." The common assumption about Henry is of "a fat bloke who liked women." It's his job to tell them different.

Winstone's interview is the best because he can't be bothered faking it. If Suchet is diplomatic, Bonham Carter erudite and Bean nervous, the man who would be king says, "I don't get to dress up much."

For the first week and a half, he was all over the place, couldn't find his way to a characterisation. "I hadn't a clue what I was doing." It doesn't show. He says he gets bored easily making movies, all that hanging around. "I like to bang it out," he says. "That's what this was." He loved it, especially the wives. He doesn't actually wink, but you know he wants to. Terrific stuff.