Fernando Meirelles 360 PROFILES
Productions’ Chris Hanley pulled together a patchwork of financing, including Prescience, and shoot- ing got underway in March 2010. Wild Bunch sold out international rights and UTA is in discussions with US buyers.
Fernando Meirelles
Fernando Meirelles’ 360 ex- plores the mystery of coinci- dence and personal connection set against an international backdrop. It boasts a diverse en- semble, including Anthony Hop- kins, Rachel Weisz, Vladimir Vdovichenkov, Jamel Debbouze, Moritz Bleibtreu, Ben Foster and Johannes Krisch. Fox International Productions
was originally on board to finance the BBC Films and O2 Filmes project and when the studio with- drew due to logistical issues, pro- ducers David Linde, Revolution Films’ Andrew Eaton and Muse
How did you get involved on 360? I was sent the script. Peter Morgan developed it and the seed of the idea was that Viennese playwright Arthur Schnitzler had written his classic Reigen [translated as Hands Around and adapted into La Ronde by Max Ophüls] almost 100 years ago. Peter used the orig- inal story’s circular structure to create the film but it has almost nothing to do with La Ronde, except that both the film and the play start with a prostitute in Vienna. His motivation was to talk about how we’re all connected and how our acts affect people on the other side of the world. Peter sent it to David Linde who called me.
How did the shoot go? This was the best shooting experi- ence I’ve ever had. It lasted nine weeks and it went very smoothly
Matthew Goode Burning Man
UK actor Matthew Goode stars in Jonathan Teplitzky’s Burning Man, playing a father dealing with tragedy who is struggling to put his life back in order.
Why were you drawn to the script? If you’d asked me 20 pages into the read if I was going to do it, I’d have said, “Don’t think so. It’s quite out there.” And then obvi- ously because of the fractured nar- rative, you know, once the penny starts to drop, you’re like, “Oh my God! That’s why he’s behaving in such an erratic, extraordinary way.” It was a real challenge. They don’t pop up all the time. And then you’ve got to go do it.
How did you prepare for the role? There’s a certain amount of power of the imagination. I haven’t had to go through anything like that, thankfully, and hopefully never will do myself. You can sense the grief anyway, but it was such a strong script and having a great director to take you through it was a huge help.
Was it difficult to film knowing that some of the story was based on Teplitzky’s own experiences? I didn’t really ever talk to him about it too much. He was very open, he would have been happy to; I just didn’t feel the need to, really. But I was worried that we’d be sitting there and he’d say, “No, no mate. That’s not how it works. It was more like this.” I was very lucky that never happened.
How did you get involved with your next film, Stoker? It was funny because Colin Firth was meant to be doing it, which I probably shouldn’t be saying, but he became rather too busy. So it suddenly became open again. It certainly wasn’t offered but I man- aged to get the job. It’s a Korean director, Park Chan-wook, he directed Old Boy, which is amaz- ing. So I was like, I can’t believe I’m going to get this opportunity. With a brilliant script, which Wentworth Miller wrote — he’s ex- Princeton so it’s not a surprise to me [it was so good]. And we’ve got
Nicole Kidman and Mia Wasikowska. They’re all so lovely.
What’s next on the agenda after Burning Man and Stoker? I’m doing a fantastic five-part TV series called Dancing On The Edge, with Stephen Poliakoff. He’s a bril- liant director. I get to be in his new
» See review, p7
TV series set in the 1920s and 30s about the up-and-coming jazz scene in London. And it’s in Eng- land! I think some of it’s in Bir- mingham so there’s a bit of travel but, amazing script and filming in England for four months.
Regan Reid
and we finished ahead of sched- ule. We started in mid-March and shot two days in Minneapolis, which doubled for Denver. Then we shot for five weeks in London, went to Paris for a week and did a few days in Bratislava in Slovakia.
You have an in-demand international cast. Was it difficult to corral every- body? The most difficult one was Vladimir Vdovichenkov [who plays Sergei]. He’s a superstar in Russia and has done 39 films. He can’t walk down the street without getting mobbed. Jamel Debbouze was also very busy with a play so
when we decided we were going to shoot from March to June, all the schedules were organised so we could get him for those few days in Paris. They love him in France.
How did you prepare for the tonal shifts in the various storylines? The beauty of the project for me was that I felt like every week I was shooting a different film with a different mood and cast. It was a joy. I really got involved with each of these stories and I shot tonnes I hadn’t explored before. Each story was different: it’s romantic and sad in Paris, there’s a bit of action in Vienna and there’s family drama with Jude and Rachel. From the beginning we knew it should be a very simple film and not pretentious at all.
What are you doing next? I’m developing a project for Pathé UK to be shot next year. The script is being written by Braulio Man- tovani [screenwriter on City Of God] based on Peter Evans’ book Nemesis. It’s about Aristotle Onas- sis and his gang.
360 Jeremy Kay
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Matthew Goode in Burning Man September 13, 2011 Screen International at the Toronto Film Festival 15 n
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