Um, well I think the K...Dorothea is, is a more complicated one in a way because and, and perhaps less, less modern than the Lidgate relationship because I mean outside sort of Oxford academics and ... is not such a 20th, 20th century figure. Yes I think the fact that he was someone who wanted to believe and wanted other people to believe that he was a genius and as soon as he let someone in to his life that he saw that he wasn't I mean his whole life kind of support mechanism crumbles because he can't really kid himself any longer and in some ways she kills him. Um, I mean that is an extraordinary relationship which um, probably only a very great artist could have described it, we, yes we did have to kind of you know in, in the scenes, the scripting and the acting adjust continually to try and find a way to express that.

Additional notes in pen:

Annotation 1: In pen, a shape is drawn dividing the text. Enveloped in the lines is the text "Yes I think...express that". The lines are drawn from the right side, anticlockwise underneath the seventh line, and around the left of the text, finishing on the bottom right.

Annotation 2: Above the ellipsis on the seventh line, a star is drawn and the hand-written word "Casabon" is written above it.

Annotation 3: to the left of Annotation 1, are the hand-written words "Part 5".

Ref code: PM-71 Title: Transcript extract from an interview with Middlemarch Director, Anthony Page. P.65 Date: 1993 Format: .png Source: ITM-7963 Transcripts of interviews with members of the cast and crew of Middlemarch (BBC/WGBH, 1994). Edited for the BBC (British Broadcasting Corporation) Educational Developments/BFI (British Film Institute) Education package Screening Middlemarch: 19th Century Novel to 90s Television. Held at BFI, London, UK. http://collections-search.bfi.org.uk/web/Details/ChoiceArchive/110008677