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We caught up with director
Mark Herman and leading man Colin Firth in the run up to the release of
their latest offering - Hope Springs…cue too much talking about Heather
Graham's nudity contract. (read our review)
Mark, I believe the townsfolk of the town you filmed in weren't exactly
enamoured of having a film crew on their doorsteps. Can you tell us about
that?
I think they'd had a bad experience with film crews before and there
was a split camp about whether we were allowed to film there or not. There
were one or two surprises - I remember they were supposed to close the
roads for shooting, but then, suddenly at 3 o'clock in the afternoon there
was traffic rumbling by.
So we had to find our own methods. There's a scene where Colin is
unfortunately carrying Heather Graham, which he'd done far too much of
already, and we had to basically get a gang of old age pensioners to
actually walk across the street slowly and hold up traffic.
Was the weather as awful as we don't see on screen?
Yeah. Out of 45 days shooting we had 4 dry days. The most depressing
aspect of that was that on the sunny days, because we were continuing a
scene, we had to create our own rain. It was soul destroying, really.
Colin, how did you come across the novel?
Well, there was never any question that it wasn't going to be made
into a film, partly for the prosaic reason that it's written almost
entirely in dialogue form.
It just came recommended - I was having dinner with a friend who'd seen a
preview of the galleys of it and he gave me a nod and said 'This has got
your name on it, literally'. And by a strange coincidence, the rights to
the novel belonged to the producer I was working with, so I was in a very
strong position of being able to make a pest of myself and lobby for the
job.
Colin, do you accept that there's a sort of Colin Firth part or type?
Well, I think it's far more easily identified by others than by me. I
usually find when I get asked questions that it's some assumption about
the type I'm playing. I got a new one recently - someone said 'You're
always playing someone who's attracted to a woman'.
It used to be that I was always paranoid or a loser or something so
there's usually something that you seem to associate yourself with at one
time or another.
Is that an actor thing, because all parts are essentially
autobiographical?
I think so, I mean essentially you are drawing on aspects of yourself.
I think that acting is particular in that there's an emphasis in people's
minds on changeability and versatility because acting is perceived to be
the art of transforming yourself.
I actually don't see it like that…I find it far more interesting taking
whatever it is that I might bring to a situation and applying it to the
problems presented by a story. How do I deal with this? How can I make it
truthful? But I think the nuances and details are the challenge.
In this case it appealed to me partly because it felt close to me in
some ways. This is about a confused, bewildered middle class Englishman
adrift in small town America and that has definitely been me. |
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What's been your own
experience with America?
I have a very long relationship with America. My mother grew up there
and I felt to some extent that I partly belong there. I was schooled there
briefly for about a year. We've always been involved with America - I have
a son who lives there and it's a big part of my life.
This is the second time you've played an artist. Do you have any artistic
talent?
None whatsoever. I have the level of talent where if I had a lifetime
of lessons, I would never aspire to the kind of drawings you see in this
film and I've actually just played Vermeer, so you can imagine how far I
was from that, really. Basically hours of lessons just so I can look like
someone who wouldn't drop his paintbrush.
Can I ask you about the undressing scenes? I thought the bouncing on the
bed dance sequence was very discreetly filmed and I wondered whether that
was in order to get a specific rating or whether it was at the actress's
request?
Mark: The latter. In (Heather Graham)'s last two or three films
she didn't seem to have any problems with that part of the contract but
suddenly on ours she did. It actually caused a nightmare to shoot and she
turned up on set with nipple plasters and so on.
But at the end of the day, if she had taken everything off, we still
would have had to cut it out - it just meant that the filming of the scene
took much longer.
Colin: You know, you do find though that actresses spend half their
lives with people lobbying to take their clothes off and then they finally
do it and they get crap for it for years. I mean people still hit Glenda
Jackson with it now, still. I do think that if you do it once, no-one lets
you forget it.
Mark: One of the ironies of the whole thing was that because of the
way we had to shoot it, it meant that we had to do a re-shoot over here
with a stand-in actress who basically had to sit in Colin's lap with her
clothes off the entire afternoon.
Colin: I'm over it now. Well, the reason we had to re-shoot
that scene was because the studio thought it was too naughty. This is a
scene where we'd managed to get absolutely no nudity and no sexual
activity whatsoever and the studio came through and said 'No, this is too
dirty - you're going to have to make a less dirty moment there'.
How about the scene where you had to carry Heather Graham? What was that
like?
Well, it was funny for other people. I was wearing appliances by the
time we finished that. I mean, that's no slight on Heather - I could have
been carrying a gerbil, the amount she put me through, and I'd have needed
an osteopath.
Was the running smoking / non-smoking gag in the novel or did you
elaborate a bit?
Mark: Well, it is in the novel, but I elaborated because I was
trying to stop smoking as I was writing it.
Colin: America does have that effect on smokers though. The golf
course really is the only place you can smoke!
What are you doing next? Are you going to do Bridget Jones 2?
I'll do Bridget Jones 2 if it's a good script. I won't be doing the
Colin Firth bit though - they'll probably drop that. I'm just about to
start something called Trauma, a psychological thriller by Marc Evans, who
did My Little Eye.
Words: Matthew Turner |