David Mackenzie - Perfect Sense interview (audio)

David Mackenzie on the set of Perfect Sense

Perfect Sense tells the story of a chef (Ewan McGregor) and a scientist (Eva Green) who begin to fall in love as the world begins to fall apart, when a series of inexplicable epidemics strike across the globe. Listen to my interview with the film's director David Mackenzie (Young Adam, Hallam Foe) from June this year at the Edinburgh International Film Festival. It's a fairly in-depth discussion of some of the film's themes, so probably best listened to after you've seen the film.

David Mackenzie - Perfect Sense interview by paulcgallagher

As I wrote on The List blog during the Film Festival, Perfect Sense is a uniquely ambitious work in which Mackenzie picks up some fascinating ideas and uncompromisingly follows them through, with the help of a solid cast, and a great lead performance from McGregor. It's a demanding film, but also thought-provoking and quietly moving. As Mackenzie says in the interview, ‘what I saw in the script was a poetic attempt to tell the story of a possible end [of humanity], and that felt interesting to me. It felt like a subtle and rather magical way of looking at these things as opposed to a bombastic and genre-led thing.’

And if you want more Perfect Sense goodies, check out the exclusive content in the player below from Sigma films:

The film features a haunting score by Max Richter (Waltz with Bashir, Shutter Island), and you can hit the green button to watch a featurette with Mackenzie and Richter discussing their motivations with the score.

Perfect Sense is released on October 7th.

Profile interview: Tamsin Egerton (The List, Issue 657)

Born
26 November 1988, Hampshire, England

Background
Having followed her older sister to a BBC audition at their local youth theatre as a child, Egerton started to get TV parts immediately, traveling the world for various productions before she had turned 15. She bagged her first movie role in 2005 in British comedy Keeping Mum, after which her head-turning looks kept the ‘stunning blonde’ roles coming, including teen sexpot Chelsea in the recent St Trinian’s remakes.

What’s she up to now?

Starring in Noel Clarke’s multi-stranded action caper 4.3.2.1 as Cassandra, the naïve rich-girl who travels to New York for a web-organised blind date that goes horrifically wrong. Egerton features in the film’s most bizarre scene, when cult American director Kevin Smith pops up as a fellow passenger on her flight.

On Cassandra
‘She’s not grown up on an estate and seen friends lose their virginity at 13; she’s naive and innocent. That’s what drew me to her, because I’m known for promiscuous Chelsea, whereas this character is not all about guys, she hasn’t lost it, she covets it and she falls in love.’

On doing nude scenes
‘I would never do an American Pie and “get my tits out” for no reason, because it’s grotesque, it’s unnecessary. But for my storyline you need the nudity, because you need to feel uncomfortable in the scene. It was very awkward, but that’s what it’s meant to be. I think, being a girl, it’s hard [to avoid]. Guys get to play with guns and we get to be in our lingerie.’

On acting with Kevin Smith
‘He was a bundle of energy, and very sweet, but he got really personal really quickly! He was asking about my sex life after five minutes of meeting, and I was like ‘erm, Kevin?’ while he’s saying ‘well me and my lady ...’ and I’m like ‘no, this is so weird!’’

Interesting fact
Egerton was in the final audition to play the 9-year old Joan of Arc in Luc Besson’s 1999 film The Messenger.

Read my review of 4.3.2.1

4.3.2.1 is general release from 2 June. This interview first published in The List magazine.

Martin Freeman: Child's Play (futuremovies.co.uk)

Nativity! is a new comedy from the mind of Debbie Isitt, made using a similar improvisational style, and some of the same cast members, as her previous film, the mock documentary Confetti. As the title suggests, this one has a festive theme, specifically focusing on a Christmas-hating primary school teacher played by Martin Freeman, who is tasked with turning around his school’s reputation for poor Christmas shows and putting on a spectacular Nativity. Freeman is no stranger to the world of improv comedy, having made his name in hit BBC series The Office, and worked previously with Isitt as one of Confetti’s ensemble cast. We spoke to him about the challenges of working with children, his thoughts on primary school teachers and the enduring appeal of the Nativity story…

It’s interesting that there’s no screenplay credit for this film. How does it work – does Debbie explain what she wants or is it all completely improvised?
Yeah she does explain. This, probably more so than Confetti, was more explained and locked down. In Confetti, in the course of a scene if characters decided to take it in any direction, that’s where the scene and the story went, within reason. But with this it was more “you have to get from A to Z, saying this, we need to plot that, and at some point someone needs to say that”. Debbie likes the uncertainty, and I think she has enough respect for actors, as good a screenwriter as she is, and she likes to let unexpected things happen that may be, hopefully, better than what she would have had in mind.

So, is Nativity a British answer to the High School Musical phenomenon?
Well, it’s a fair question because there is an obvious comparison to be made there, but I think, with these children, it is a bit more accessible. It is a bit more – for want of a better word, in a film that’s got bloody live camels in a nativity play – real. Okay, it’s not Ken Loach, but you do see kids messing up, you do see kids failing. They haven’t all arrived like mini stars, you see the real experience of it being good or bad or whatever it is. You see the real charm.

How was it trying to hold your own against so many little scene-stealers?
I’m more than happy to have scenes stolen by them, because after all, whatever makes the film right, you know? And Debbie was adamant from the outset that not only did she want a child-friendly film, but she wanted very much a film that all the family could see, including young ones. As far as I’m concerned, the star of the film is the children, that group, and that’s the real overriding thing that you come away with. So fortunately in this case I was very happy to be gazumped.

Did making the film give you a newfound respect for primary teachers?
I’ve always had a great respect for anyone who wants to get in a room with thirty-odd children, and not kill them. It gave me more of an idea of how difficult it would be, certainly, but no, I’ve always had concrete respect for them. I don’t think I have the patience to be a primary school teacher. All the stuff at the start of the film where my character is not in love with the world and he’s grumpy; that wasn’t all acting. That was verité. And I’m a dad in real life, so I also drew a lot on my own experience as a dad to get those high-pitched shouts!

Did you put on an actual nativity play?
Yeah, we had to rehearse a lot more than you see in the finished film. We were there for hours and hours going through the choreography and the songs and everything. It was testing., and I definitely drew on my own abilities, or otherwise, to corral children. But I haven’t got thirty children; I’ve got less than that! So there’d be times when I’d be trying to appeal to the older ones, to sort of set a good example, which worked sometimes. And other times they would do what children are supposed to do, kind of arse about a bit.

As a parent, have you had many painful experiences watching awful school plays?
I do genuinely think there’s something about watching children doing almost anything that is forgivable, no matter how terrible or otherwise it should be. There’s something about the innocence of children trying their best, and not being that knowing, that’s quite charming really. It is one of the things that I really love about this film; it reminds you of watching your own children do stuff. And yes, normally there aren’t real camels at the Christmas play, but I think it still holds true, there is something undeniably emotional about watching children, your own especially, but any children I think. There’ll be a lot of people in bits as soon as this film starts. I was when I saw it, because it’s real; it’s not kids pretending to be kids, they’re really there trying their best, and however that turns out I find it very moving.

Would you encourage your own children into acting?
I wouldn’t actively encourage or discourage them from this life. Both me and my other half are actors and, while of course there are hard bits to it, it’s a good life and I’m thankful to it every day. But I think if you’re the children of actors you don’t need encouragement – you’ve got a bit of it in you. So I’m just gonna see where that goes with mine.

Would you consider following your Nativity co-star Ashley Jensen and moving to the US to work?
It’s interesting, Debbie definitely wanted someone for that role that looked, to a British audience, like they had ‘crossed over’ to America. So she wanted that parallel to be drawn with Ashley, quite clearly. Personally, I would crawl over broken glass to work on something good, wherever, but I never wanted to go over to the States and just wait around for work. As any actor will tell you, you can stay here and do that! I’ve worked in the States a couple of times, but I’ve got a family, and I have a responsibility I think, to not necessarily do that to them. You know, whatever you want out of LA, your family might not want that too.

What do you think is the continual appeal for retelling the Nativity story?
I think it’s a great tradition, and it’s great that it carries on. I really do think it’s the greatest story ever told, and this is just the first bit! I am a sucker for the whole story, and I’ll hear it any which way, because I’m endlessly fascinated by the myth and the truth, and every part of it. It’s a really, really good story, and I think that there are great truths in it: that great things happen to the smallest, tiniest person, and the least likely child or person ends up elevated to the highest status. If that’s not a great parable, or way to think about life, then I don’t know what is.

Nativity! is released in UK cinemas on 27th November. This feature first published on futuremovies.co.uk.

Profile: John Krasinski (The List, Issue 639)

Name
John Krasinski

Born
20 October 1979, Newton, Massachusetts

Background
After a series of bit parts in films and TV shows, Krasinski landed a key role in the American version of The Office alongside Steve Carrell, and has been a US household name since. UK audiences have had to work harder to notice him, as he’s so far failed to have a breakout cinema hit, starring in panned Robin Williams vehicle License To Wed and George Clooney’s underappreciated comedy Leatherheads.

What’s he up to now?
Playing opposite another small-screen star, Saturday Night Live’s Maya Rudolph, in the road trip comedy/drama Away We Go. It would be a typically ‘under-the-radar’ indie but for the fact that it’s directed by British awards magnet Sam Mendes.

On getting the part
‘I had read the script a little earlier and thought it was amazing, and then when Sam came on I thought “this is the perfect project, maybe when 75 other actors pass on it I might have a shot”. Then Sam gave me a call and told me he didn’t have anybody else in mind but me, and I thought it was George Clooney with a terrible British accent. But it was real! So to be a part of a movie like this in my break … it’s still hard to wrap my head around.’

On balancing comedy and drama
‘It’s always exciting to just play the truth of any moment, whether it’s funny or not. I think that’s what makes this movie so funny; you’ve got an actress like Maggie Gyllenhaal committing to these jokes as if they’re incredibly dramatic scenes, and that’s why you believe in these crazy people.’

On growing a beard for the film
‘Sam said “I need you to grow a full beard”, and I thought “you can’t just ask a guy to go and grow a beard!” I was terrified that it would come out patchy, and I’d have to wear a wig on one side of my face. But luckily, I hit puberty and it all turned out okay.’

Interesting fact
Krasinski has written and directed an adaptation of David Foster Wallace’s Brief Interviews with Hideous Men, due to be released later this year.

Away We Go is released on Friday 18 Sep. This article originally appeared in The List.

Joseph Gordon-Levitt: Days of wonder (The List, Issue 638)

He may be a long way from 3rd Rock from the Sun, but as Paul Gallagher finds, actor-director Joseph Gordon-Levitt thrives as a moviemaking anarchist.

‘You have to make it for yourself. You have to figure it out for yourself, and if it’s real love it’s going to be unlike anyone else has ever felt before’. Joseph Gordon-Levitt, star of the new romantic comedy (500) Days of Summer, is getting philosophical about matters of the heart. The former teen star could equally be discussing his career so far, which in the last ten years has seen him take a similarly ‘figure it out for yourself’ approach, resulting in his transformation from TV comedy star to one of the more interesting young American actors currently working.

The latest evidence of this can be found in his performance opposite fellow indie hipster Zooey Deschanel in (500 Days) of Summer, a refreshingly honest take on relationships, in which Gordon-Levitt’s Tom attempts to piece together what went wrong in a relationship, and begins to realise that his memories aren’t telling the whole truth.

The film allows Gordon-Levitt to combine the comedic gifts that made his name with his more recently earned actorly cred, a dovetailing he is not unaware of: ‘I think that is a big part of why this movie is so funny because it’s genuine. And it’s not shallow surface level gags, but the humour is emotional, and I wanted to bring the same emotional truth to this movie as I brought to some of the more ‘dramatic’ movies that I’ve made.’

Having begun working in TV as a child, it was Gordon-Levitt’s role in aliens-on-earth comedy 3rd Rock from the Sun that brought him recognition. After he starred in 1999’s Shakespeare update 10 Things I Hate About You it appeared the young Gordon-Levitt would be following the tried-and-tested TV star route to likeable (and bankable) big screen success, but he happily confounded expectations. Opting instead to star in a series of low-budget, critically-acclaimed films, Gordon Levitt’s subtle and affecting performances in Gregg Araki’s Mysterious Skin and Rian Johnson’s genre-bending cult hit Brick particularly confirmed him as a talent to watch.

As well as increasing in standing as an actor, Gordon-Levitt has become a significant figure in enabling and encouraging new approaches to filmmaking, having founded the online community hitRECord.org, a ‘mass collaborative arts project’ that flies in the face of piracy laws and encourages creatives to re-cut each others’ work to produce new ‘hitRECords’. He has no truck with the current paranoia amongst studios about copyright protection, exclaiming, ‘what is a greater honour than someone wanting to record your movie? There’s no higher honour!’ It’s an attitude that almost got him ejected from the premises when he pulled out a digital video camera at the Sundance premiere of his own short film Sparks, an adaptation of an Elmore Leonard story that Gordon-Levitt directed, produced, wrote and scored.

It turns out that the star is no stranger to being thrown out of venues. Discussing (500) Days of Summer’s karaoke scene, in which he gives an impressively passionate rendition of The Pixies’ ‘Here Comes Your Man’, Gordon-Levitt admits his real life karaoke experiences haven’t always ended well, ‘[I] got kicked out because I rocked too hard! They forbade me to unleash the rock.’ Well, that’s the way he remembers it.

(500) Days of Summer is on general release now. This article originally appeared in The List magazine.