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The clock will not be without its candelabra.

Disney's upcoming live-action musical adaptation of Beauty and the Beast has found its Lumiere in Ewan McGregor, who is nearing a deal to play the enchanted castle's resident maître d' in the March 2017 film, according to The Hollywood Reporter.

Lumiere, of course, is the suave Frenchman-turned-candelabra who sings the showstopping "Be Our Guest" (among other notable songs). The womanizing candlestick holder is often side by side with his vastly more uptight cohort, Cogsworth, played in the film by Ian McKellen.

The showy role was the last major question mark in the buzzy 3D project, which will star Emma Watson as Belle, Dan Stevens as the Beast, Luke Evans as Gaston, Josh Gad as Le Fou, Emma Thompson as Mrs. Potts, Kevin Kline as Maurice, Gugu Mbatha-Raw as Plumette, and Audra McDonald as Garderobe. Bill Condon will direct with a script by Stephen Chbosky and new songs (in addition to Alan Menken and Howard Ashman's originals from the 1991 animated film) by Menken and Tim Rice.

Beauty and the Beast is a return to the movie-musical for McGregor, who memorably sang as a lovelorn writer in 2001's Moulin Rouge!

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Ewan McGregor to play Lumiere in 'Beauty and the Beast'

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The clock will not be without its candelabra. Disney's upcoming live-action musical adaptation of Beauty and the Beast has found its Lumiere in Ewan McGregor, who is nearing a deal to play the enchanted castle's resident maître d' in the March 2017 film, according to The Hollywood Reporter .

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Ewan McGregor. Biography, news, photos and videos

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All about Ewan McGregor. Biography, news, photos and videos

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"take the best orgasm you've ever had, multiply it by 1,000, and you're still nowhere near it." So says Mark Renton, the central character in Danny Boyle's already-frenziedly-anticipated-and-it's-still-a-month- till-it-comes-out film version of Irvine Welsh's best-selling Caledonian junkie romp Trainspotting. And it's not the pleasure of a fried egg sandwich on a cold day that he's talking about, or the excitement of finding an unread newspaper left on a train, but the joy of injecting heroin.

Trainspotting's willingness to face up to the apparently self-evident fact that some people take drugs simply because they enjoy them will not endear it to everyone. There is no doubt, though, that this is the most engaging, original and resonant cinematic portrayal of delinquent British youth since Quadrophenia. It not only banishes the memory of such risible recent domestic exploitation efforts as Young Americans and Shopping, but also manages the apparently impossible - to make a film about junkiedom so stylish and funny as to beguile people who find the whole idea stunningly tedious.

Ewan McGregor's charismatically disreputable performance in the pivotal role of Mark Renton is one of the keys to Trainspotting's success. The McGregor giving interviews in the Groucho Club is barely recognisable as the soaking wet, crop-headed desperado who'll be looking down from the film posters for the next eight weeks or so. The jovial 24-year-old has put back on the two stone he lost for the role and grown out the crop into an easygoing bed-head/stubbly chin combination. But the most noticeable thing about him is that he talks a lot of sense for an actor.

"It's a funny thing, me doing interviews," McGregor points out, "because it doesn't really matter what I think about anything: I just enjoyed being in the film." That, of course, is not the way things work, and McGregor is visibly bracing himself for the high level of controversy that Trainspotting's even-handed approach to drug addiction is bound to stir up. "If someone's constantly telling you 'Don't do this, don't do that'," he argues, "especially as a kid - the first thing you want to do is go and do it. It's much more responsible to say 'It'll make you feel fantastic for a short while but then it will lead to this, this and this'."

Though it eschews grim documentary realism for a more humorous, sometimes almost surreal approach, Trainspotting pulls no punches in depicting the levels of moral and physical degradation to which the junkie might expect to stoop. (In one memorable sequence, McGregor dives head-first into the worst toilet in Scotland in search of an opium pessary). But one of the interesting things about the film is the way it shows that, while for some people their first taste of heroin is indeed a one-way ticket to despair and death, others - like Renton and his unsavoury friend Sick Boy - have the ability to drift in and out of drug-taking.

Drifting in and out, as McGregor seems admirably well aware, is exactly what actors do. "'I became a drug addict for six months in preparation for this film': that's such a load of bollocks," he snorts derisively. "If you did that it's because you wanted to be a drug addict - it's not going to help the film." The Trainspotting press kit does mention some research done among junkies at a Luxembourg railway station while working on the new Peter Greenaway film. "I didn't hang out with them," McGregor insists. "I just watched them from a distance. I'd never initiate myself into the group because that would be too embarrassing [Assumes stereotypical idiot actor voice] 'Hi, I'm going to play a drug addict, would you like to show me how to do it?'"

Much is made of the advisory role played by the ex-addicts of Edinburgh's Calton Athletic Recovery Club in the making of Trainspotting. Even in a formal setting, surely it must still be quite embarrassing to meet people who have been through terrible experiences on the basis that you're going to pretend to be like them? "We met a lot of people who had been drug addicts, but I didn't feel that we were using them because I don't think they felt we were. A lot of them had read the book and really liked it, and they knew that we were quite serious about wanting to make it into a good film."

They say you never recapture the thrill of your first recovery experience. McGregor was certainly deeply impressed by his first encounter with Calton Athletic. "The first time Danny Boyle took me up there, I heard this guy Eamonn - who ended up being our adviser - tell his drugs life story, and it was extraordinary. I'd never heard anything like it; I'd never felt anything like the atmosphere of support in the room; the giving of strength to each other, from these hard men and women, felt almost religious. Hearing how low they'd sunk certainly dispelled any ideas that I maybe had of any glamour involved with the taking of heroin, because I probably did have some ... I'm sure I did".

Why do those ideas persist in spite of all the evidence to the contrary? "It's something that's got an awful lot of kudos because it's taboo, because it's the big bad one. I mean, why is it worse to be injecting heroin into your arm than to be doing a line of coke in a toilet?" McGregor laughs, aware that this might be a controversial statement to make in the middle of Soho, notorious red light district of coke-crazed media whores. "I suppose socially it's to do with the needle - the idea of an implement putting things into your body makes it all seem very clinical and medical and that sets it apart".

There is a big - and for non-syringe fans, appropriately wince-inducing - intravenous close-up in Trainspotting. Is that Ewan's arm? "It is my arm, but moulded prosthetically and with a plastic pipe going into a little pool of blood underneath so you can see the pulse." Cast members were inured to the horrors of the injection by Eamonn's expert tuition. "It didn't seem to mean anything to him," says McGregor. "I think what means everything to you is what happens after you've put it in your arm - everything else is irrelevant."

The irritating thing about the Irvine Welsh phenomenon is the way some people seem to think the merest acquaintance with his vividly scabrous fictional creations somehow qualifies them as honorary roughnecks. McGregor has no such pretensions. His background was plainly a good deal more comfortable than Renton's but that does not compromise the integrity of the film. Rather, it enhances its thrilling sense of mobility.

Ewan McGregor grew up in the small and sedate Scottish town of Crieff. Inspired by the example of his uncle, Local Hero star Denis Lawson, he had decided he wanted to be an actor by the age of nine. "I remember throughout my childhood in the Seventies he [Lawson] used to come up and see us and he'd always look really different from other people I knew. He had flares on and sideburns and beads and a big sheepskin waistcoat and didn't wear any shoes, and I just wanted to be like him."

The only cast member to survive from the Trainspotting team's previous success, Shallow Grave, McGregor has understandable hopes of being "associated with their work in the same way that Martin Donovan is with Hal Hartley". That didn't stop him taking a major role in a new film adaptation of Jane Austen's Emma. "I got married between Trainspotting and Emma," he vouchsafes, still somewhat bewildered. "One minute I was lying on the floor with a syringe in my arm, then I got married, then I was standing in this trailer - I'd never had a big trailer before, it was quite nice - with a wig, and top hat and tails, and leather gloves on, and for a moment I thought 'I can't go from skinhead drug addict to ha-ha-ha curly wig acting.'"

But surely that's your job? McGregor smiles contentedly. "I would think so, yes."

8 'Trainspotting' opens on 23 February. Irvine Welsh interview, Review page 18

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the interview EWAN MCGREGOR, ACTOR TALKS TO BEN THOMPSON

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"take the best orgasm you've ever had, multiply it by 1,000, and you're still nowhere near it." So says Mark Renton, the central character in Danny Boyle's already-frenziedly-anticipated-and-it's-still-a-month- till-it-comes-out film version of Irvine Welsh's best-selling Caledonian junkie romp Trainspotting.

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Happy Burns Night! For those of you who don't know, Burn's Night is a Scottish tradition, a dinner held on the birthday of Romantic poet Robert Burns (Jan. 25), the man who wrote (the words to) "Auld Lang Syne" and a Scottish national treasure. Traditional celebrations involve the recitation of Burns' poetry (including Auld Lang Syne as a farewell), toasting, eating haggis, drinking Scotch, and just generally lots of lovely stereotypical Scottish things that would warm the cockles of any eager tourist's hearts. In the spirit of this festivity, we decided to revisit and interview with one of our favorite Scots, Ewan McGregor. We considered Tilda Swinton, but we ran into her last night and she said she wasn't planning on celebrating the holiday (her boyfriend left his kilt back in England), so Ewan it is! We've spoken with Ewan several times, most recently at the premiere of his new film, , but we like this interview from 1998 the best. It captures McGregor at a pivotal moment in his career-just before his role as Obi-Wan Kenobi thrusted him from British film actor to imposing Hollywood star.

Ewan McGregor
by Todd Fuller

Why is Ewan McGregor such a big deal? It's not just about looks and likability. The twenty-seven-year-old Scot has become a movie star by doing something a lot of his schticky, attitudinizing, careerist peers put low on their list of priorities: He acts

In the two years since Ewan McGregor played the heroin-racked Mark Renton in Trainspotting, he has become the most popular British actor of his generation. The reasons are not obscure. Cocky but unthreatening, soft-featured males have become movie stardom's greatest currency in the postmachismo 90s. McGregor's ascent parallels that of Leonardo DiCaprio and Matt Damon, actors whose maleness is emphasized, not diluted, by traditionally feminine traits like gentleness and passivity.

McGregor is more than a type, however. He acts with a refreshing lack of sturm und drang, shtick, or self-regard, and his effects are both minimal and effortless-the furrowed brow, the sly or incredulous gaze, the huge grin, the casual exposure of his heart and loins. He is equipped with neither the tortured genius of Daniel Day-Lewis, the fertile self-consciousness of Gary Oldman, nor the high-strung hauteur of Ralph Fiennes, but he has something of the young Albert Finney's playfulness. One of the greatest assets is that he is invariably pleasing, whether he is being smug ( Shallow Grave, 1994), swallowed by a toilet ( Trainspotting), embossed with ink ( The Pillow Book, 1996), a popinjay ( Emma, 1996) or a working-class lad ( Brassed Off, 1997). His eclectic choices-including several small roles in ensemble pieces-are those of a devout actor rather than a careerist. How much longer, though, will he be tempted to play dreamers? The test of McGregor's range will surely come when he is asked to espouse authoritarianism or evil, but it wont be in next year's Star Wars: Episode 1, in which he steps into Alec Guiness's shoes as the young Obi-Wan Kenobi.

While in drama school, McGregor got a vital break when he was cast in Dennis Potter's miniseries Lipstick on Your Collar (1993) as a war-office clerk who gets through the Suez Crisis by fantasizing about being a rock and roll crooner. This month, in Todd Haynes's glam rock memorial Velvet Goldmine, he takes rock theater to a different level with his ballistic portrayal of American protopunk Curt Wild, a thinly veiled Iggy Pop. It's McGregor's most primal performance yet-and his bitterest. He is currently taking a break from movies to appear on stage in the Hampstead Theatre Club's production of Little Malcom and His Struggle Against the Eunuchs, directed by his uncle and occasional mentor, the actor Denis Lawson. He can next be seen onscreen as a sweet, gormless pigeon fancier enamored of Jane Horrock's closest diva in the December release Little Voice; it's another role for the twenty-seven-year-old Scot that is more about acting than ambition.

GRAHAM FULLER: Have you ever fantasized about being a rockstar?

EWAN MCGREGOR: Always, so Velvet Goldmine was an opportunity to get it out of my system. Of course, it didn't work. I thought it would expel the rock-'n-roll demons, but it just put more of them in me.

FULLER: What did you now of glam rock going in?

MCGREGOR: I was born in '71 so I remember bits of glam rock on Top of the Pops toward the late '70s, but I had no idea what kind of world it was. I didn't like the music either. Not particularly fond of it now, either, except for Iggy Pop's stuff. I think the sound was specific to the era and I kind of didn't get it. Nor did I understand why they were wearing all those strange clothes. I certainly didn't listen to hours and hours of glam rock to get into the part.

FULLER: Did Todd Haynes tell you that the inspiration for Curt Wild and Brian Slade [played by Jonathan Rhys Meyers] was specifically Iggy Pop and David Bowie, or was that an assumption you were left to make for yourself.

MCGREGOR: Whether the love story is their story or not, I have no idea. Simply in terms of British glam superstar, it's clear who Brian Slade is. Curt is made up of bits of different American rock stars, so he's more general. None of this was secret.

FULLER: How conscious were you of playing Curt as Iggy?

MCGREGOR: My look-with that long, bleached-blond hair-and certainly what I did onstage was Iggy. I looked at film of him performing to get that mad physicality. I looked at tapes of Lou Reed, and Robbie Robertson in The Last Waltz to try and get that fucked-up, groggily rock-'n'-roll voice. The way it reads in the script, Curt has to come out with a bang when Brian Slade and the audience see him for the first time. After a couple of rehearsals my lungs were coming out and when I got up to do the first take, I was worried I wasn't going to make it through the number because I'm not very fit. But as soon as the camera started turning, I stopped worrying because this mad stuff started happening. I guess from watching Iggy Pop I'd sensed what kind of state he gets into; it's like something's inside him and he's got to shake it out of himself. And if he falls over, he doesn't even recognize it; he just gets up and carries on. That's what I feel like, too.

FULLER: It looks like you went into a different space.

MCGREGOR: Oh, I completely lost it. I didn't have a clue what was going on until they said cut, and then I was going, "Whoa!" I'll never, ever forget what it felt like.

FULLER: Iggy would cut himself with razors onstage and smash the mike into his teeth, and there were rumors of blow jobs-given and received. How far did you think you'd be able to go in a movie?

MCGREGOR: He always had his cock out. He's very fond of his penis, I think; I'm rather fond of mine too. It made sense to me that he'd always be whipping it out. There were only four hundred extras there when I did it, so it was a different ball game. But to stand there with your trousers around your ankles, there's something about it ... I don't know quite what, but it didn't feel at all out of place. It was a powerful feeling, in fact. Todd had written in the script that Curt turns around and moons the audience. I'd seen Iggy Pop do this thing where he stood stock-still, staring at the audience with his hands down the front of his trousers. And then he started to jig about and his trousers fell down as he was dancing around. I thought I'd do that but I ended up pulling my willy around and sticking my head between my knees. I had no idea that was going to happen and the camera crew certainly didn't. I'll never forget their faces after the first time.

FULLER: Do you have views on what the film's got to say about sexuality?

MCGREGOR: It's about freedom, isn't it? And being yourself, and being even more than yourself, and just going for it. But the film displays a debauched and selfish time and it leaves you with a sour taste in your mouth because so many of the people end up dead or fucked-up or unhappy or lost. Perhaps that's irrelevant, though. I watched this documentary about a photographer [Nan Goldin] of the New York gay scene in the '70s and '80s. She said she took photographs because otherwise she wouldn't remember where she'd been, so they were like her pictorial memory. Then when AIDS kicked in, her photographs went from being a record of the massive, happy energy of that scene into memories of her friends dying. In a way, Velvet Goldmine's like that. I still don't know why people are so reluctant to talk about the '70s. What was going on that we were running away from? Look at film of Ziggy Stardust onstage-how can their be any doubt about what image David Bowie was trying to convey? And why shy away from it now?

FULLER: Bowie has always woven his way between categories because h wants to be unknowable; he's too smart to be pinned down. I suspect it's because he wants to preserve some mystery. That's why he killed off Ziggy onstage in 1973, before he became a self-parody, which is exactly what Brian Slade does become in Velvet Goldmine. The Ziggy movie Bowie's planning could contradict all that, of course.

MCGREGOR: Is he going to play Ziggy himself? [ laughs] Could be weird. It should be some new guy.

FULLER: I heard Velvet Goldmine was a tough shoot.

MCGREGOR: I only did four weeks on it and I'm quite glad about that because I might have gone over the edge to rock stardom. Also, we worked insane hours. Making movies gets more and more like that, and I despise it for the crew's sake. We were fucked around right and left on this one. The finished movie really works and that reminds you it doesn't always have to feel rosy when you're doing it. Producing good stuff can be quite tough and it involves a lot of frustration, but I always like things to be jolly and happy, and I forget that's actually not the point at the end of the day.

FULLER: Are people treated badly on movie sets in your experience?

MCGREGOR: Such shite goes on. Producers blatantly fuck over the crews. Maybe I'm naive and should just get used to it. I saw an interview with James Cagney, and he was talking about the old Hollywood days. He said, "We were shooting thirteen, fourteen hours a day, six days a week, and it was just getting too much." I was like, "Fucking hell, James. That sounds like an easy life to me." A sixteen-hour day is normal these days. But how can crews be expected to work sixteen hour days with no overtime and then have to pack up and drive two hours home? And then they're expected to be bright and breezy and supportive the next morning. I find the more I do the more I need to be involved with the crew-I need them to be there with me. If I've got to do something really difficult or risky with half of them hanging onto the light stands, it's impossible. So I'm using what clout I've got to do something about it if I think they're being badly treated. We actually lost a lighting crew on Velvet Goldmine, three weeks in. I don't quite know why, though. I don't think they liked that we were filming men fucking each other up the arse on a rooftop in Kings Cross. God, I'm sounding really jaded now. I don't want to appear that way.

FULLER: Are you jaded?

MCGREGOR: No, but I've had enough of making movies for a while. It got to the point where they'd come to call me on set and I'd buckle under, and I don't want it to be like that. Working on films back-to-back, I began to find I was losing myself to the extent that I'd completely forgotten what it was like to get up in the morning and sit and watch the telly. And I didn't have a bath for two years because I didn't have a fucking tub. I try not to moan about it because it's unusual for an actor to be in so much work, but it does bring its own pressure. The worst part of it is that I haven't been able to develop the same kind of relationship that my wife [Eve] has developed with our daughter [Clara]. She's only a wee one and I usually only get to see her when she's asleep. So I've been taking a break recently and it's been good to get that relationship back.

FULLER: How was the Star Wars experience?

MCGREGOR: It was a mixture of exciting and boring. Every day there'd be a few moments where I would go, "Fuck, we're doing Star Wars." But it was also a tedious film to make. There's not a lot of psychological stuff going on when you're acting with things that aren't actually there.

FULLER: Was it bizarre playing Obi-Wan Kenobi?

MCGREGOR: Very weird. The Jedi Knights have got a sense of what's going to happen, so they don't freak out or panic or anything. But after a while I noticed the only thing I was doing was frowning a lot. That's a worry when you shoot for three-and-a-half months.

FULLER: Did you encounter the Hollywood machinery?

MCGREGOR: No, because most of George Lucas's people are based in San Francisco and didn't get involved-I liked them for that. I used to bang on a lot about how disgusting it is that massive amounts of money are spent on movies and then I took a part in Star Wars. Never mind. But what I want to do in the future is more films like Velvet Goldmine and Little Voice because I think they're better films than most of the big ones. The less money you have, the more exciting the work is.

FULLER: Is it important for you to stay in touch with the original impulse you had to be an actor?

MCGREGOR: Yeah, but it's almost impossible. With everything you end up doing, you go somewhere else. I still have a passion for acting, but some of it was beginning to disappear, which is another reason why I'm taking a break right now. I felt I was getting a bit lazy. I've never found acting that difficult. If you ask me, it's all rather easy if you keep it simple. But as soon as you lose that original drive, it's not fun. That's why I'm returning to the stage. I want to remember what it's like to be really frightened again. The fear of being crap is always what makes you good, I think. Then when I get back into films, I'll go at it hammer and tongs.

FULLER: Is it possible to say what all this has done to the inside of your head?

MCGREGOR: It's quite confusing. Success is tricky to deal with, both professionally and in your personal life. At the same time I still want more of it so I can sit there and see myself come up onscreen. I never quite believe it's me up there and I can't quite describe how good it feels, even if it's not a very good film. It's in my dreams and there it is.

One month later...

FULLER: Of all the films you've done, the one that reverberates in people's minds is Trainspotting, which was funny and exciting but didn't gloss over the misery of junkiedom. Was playing Renton in that film important to you?

MCGREGOR: He was like a Christmas present. It was the kind of part you only get once in a while. I'd been waiting for him to come along and when I read the script, I thought, Well, here he is-here he comes. For months beforehand, I though about nothing else, and I threw myself into it 100 percent and played him with a passion.

FULLER: I'm curious to know how much you identified with him-I don't mean as a junkie, but as a young, urban Scot. There's that scene in the movie when Renton and his friends take a train to the edge of the Highlands, and Renton trashes the image of Scotland that's marketed to tourists, that whole tartan thing.

MCGREGOR: Yeah. Shortbread.

FULLER: Is that how you feel about it, too? I know you go back to Scotland a lot.

MCGREGOR: In the movie that's just a bunch of angry guys who don't want to be in the countryside, who don't want to do anything or be anything really. I can understand their sentiment that it's shite being Scottish because we're ruled by England, but maybe that's changing now-I don't know. I love Scotland. It's so much a part of who I am. My parents and family live up there so I naturally want to visit a lot. I miss the land and the people when I'm away. We're quite a proud race, and I'm as proud as anyone to be Scottish.

FULLER: It's heartening to see you in Little Voice, which is a tiny English movie with more life in it than most of the movies I've seen this year.

MCGREGOR: Mark Herman directed me before in Brassed Off. I was impressed with what he did with that film, and I think it was an important film for Britain to see because it showed the mining communities being torn apart. I was worried that Miramax might slaughter the politics in it and turn it into a love story, which, to their credit, they didn't. I also liked playing in an ensemble like that. Little Voice was the same kind of idea, and there was a fantastic wee part in it for me.

FULLER: You're happy playing ordinary guys?

MCGREGOR: I'll play anyone or anything.

FULLER: A lot of movie stars only play heroes.

MCGREGOR: I see my job as very simple: I have to pretend to be different people. So, to make it interesting and to live up to my job description, I should pretend to be different people all the time. They must never fall into the same category. And because I'm an actor, it's not about me. If I was worried about my image, or if I was always playing somebody who saves hostages from airplanes, I wouldn't be in this business at all. I'm not worried about how I come across in a film, as long as my character serves the story. I don't care what people think about me.

FULLER: How come you've never hired a full-time publicist?

MCGREGOR: Because I don't like to be in the press. People say you have publicists to keep you out of the press, which is bullshit. If you want to keep out of the press, just don't speak to them. There are actors everywhere, a lot of them in Hollywood, who instead of pursuing good acting and making good films thrive on being in magazines and making sure they're in the right ones and at the right parties with the right people; in fact, that seems to be what Hollywood thrives on as a whole. I've always detested that side of the business. I've worked with too many people who find the acting part of it slightly boring, but they do it because it's the part that allows them to become famous. For me, the magazines and the photos shoots are the boring parts of my job that allow me to be on set doing my work. I've had to hire a friend to handle the publicity for me when Star Wars comes out next year because I know that's going to be a major one. On the whole, though, I've never really understood what press agents do. They charge you quite a lot of money, and I'm reluctant to give anyone my money. [ laughs] It's the same argument with managers: What do they do? It seems they're there to book theater tickets for actors, and I can book my own. They want 15 percent, then your publicist wants 15 percent, and it all adds up. I just think they're leeches and I can do without them.

FULLER: So it's acting and nothing else?

MCGREGOR: I'm not saying some of the other stuff isn't fun. But the biggest kick I get out of my job is to be on set when the camera's turning. That's the most exciting thing in the world for me. I always find it frightening walking on a carpet with banks of photographers on either side. That's just part of the machinery that's selling your image to make money for the film. People get carried away with that because everybody's really fascinated by movie stars. They think they're all fantastic human beings. See, in my experience, most of them aren't. [ laughs]

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Happy Burns Night! For those of you who don't know, Burn's Night is a Scottish tradition, a dinner held on the birthday of Romantic poet Robert Burns (Jan. 25), the man who wrote (the words to) "Auld Lang Syne" and a Scottish national treasure.

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" Late Show " mit David Letterman & Ewan McGregor !

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Ewan McGregor war am 24.05.2011 wiedereinmal Gast in der " Late Show " mit David Letterman.

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Ewan McGregor on his films, charities and dog

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Ewan McGregor interview with Ellen Degeneres, talking about Beginners, Salmon Fishing in the Yemen, charities and Ewan's dog Part 1: http://youtu.be/TmUjiT7HihE

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Ewan McGregor on Wearing a Kilt & Meeting Prince Charles

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Ewan talks about being named an OBE (Officer of the British Empire), meeting Prince Charles and wearing a kilt.

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Ewan McGregor: Louis C.K. Can Put His Money Where His Mouth Is - CONAN on TBS

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Ewan McGregor responds to Louis C.K.'s lusty stand up routine.

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Ewan McGregor Plays With Light Sabres - The Graham Norton Show - Series 9 Episode 12 - BBC One

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More about this programme: http://www.bbc.co.uk/programmes/b012b52b Graham chats to Ewan about him having a light sabre from working on "Star Wars". Graham, Ewan & Chris show off their skills and play with toy light sabres.

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Ewan McGregor Ran Out of Gas Driving Cross-Country

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Jimmy chats with Ewan McGregor about his Broadway debut play, The Real Thing, and the time he got stranded trying crossing America in a sports car.

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This post was created by a user and has not been vetted or endorsed by BuzzFeed's editorial staff. BuzzFeed Community is a place where anyone can post awesome lists and creations. Learn more or post your buzz!

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Community Post: 20 Celebrities Who Contributed to Their Movie Soundtracks

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This post was created by a user and has not been vetted or endorsed by BuzzFeed's editorial staff. BuzzFeed Community is a place where anyone can post awesome lists and creations. Learn more or post your buzz!

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4. January Jones (the unofficial queen of #TBT) bravely shared this elementary school photo, where she sported a rather interesting haircut.

5. Speaking of brave, Tom Brady shared this adorably awkward photo of himself in the early '90s.

18. Jeremy Renner really worked a Boy George meets INXS look to an '80s-themed prom he attended 10 years ago.

24. Jenna von Oy (aka Six on Blossom) shared this photo of herself with Fresh Prince's Tatyana Ali, Step by Step's Christine Lakin, Keri Russell, and Boy Meet's World's Danielle Fishel - basically all the girls every teenage guy in 1995 dreamed about.

37. Colin Powell posted a 60-year-old selfie.

48. Mayim Bialik reminded us of her pre-Blossom TV show Molloy, which co-starred Jennifer Aniston.

53. Tom Hanks shared this photo in honor of his 58th birthday.

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The 55 Greatest Celebrity #TBT Photos Of 2014

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4. January Jones (the unofficial queen of #TBT) bravely shared this elementary school photo, where she sported a rather interesting haircut. 5. Speaking of brave, Tom Brady shared this adorably awkward photo of himself in the early '90s. 18. Jeremy Renner really worked a Boy George meets INXS look to an '80s-themed prom he attended 10 years ago.

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Ewan McGregor's Hair Was The Best Part Of "Jack The Giant Slayer"

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Twitter has spoken, even though it didn't have to because anyone who watched the movie knows his hair was fabulous.

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22 Steps To Tranquility As Told By Ewan McGregor's Instagram

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Warning: may fall deeper in love with Ewan McGregor as a side effect.

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22 Quotes That Will Make You Fall In Love With Ewan McGregor