SPOTLIGHT
the character I play, he experienced the events sort of one at a time. In the second story, while I was working with Melanie, there are lots of thoughtful moments when [he] looks back over his time with his father. I was able to really do that, I was actually able to remember back to the scenes we had played—made it more genuine, so that was very good! Was it always a part of the Beginners script to have the dog, ‘Arthur,’ subtitled? It was such a brilliant exchange and what an intense little Jack Russell Terrier. Yes, it was always a part of it. And it was very clear to me what
that meant what it felt like at first. Some other people thought ‘It’s not like he’s really talking is it?’ I always knew exactly what it meant, what if felt like. It was my projected thoughts on him if you like. But at the same time, it could be his thoughts I guess, it’s sort of ambiguous. I don’t really mind which it is (laughs) I never got the sense that it was a talking dog movie (laughs again), but I liked it. It was very cleverly written, and I think he’s got some of the best lines in the film! The dog was fantastic. You have chosen some great gay themes and characters in your career, portraying them in a positive light. Do you get a lot of feedback on how that impacts people? I get a sense from my friends, on what they think, but I really
don’t have a strong direct connection to the people who see my films. I get a good sense from my friends and it’s good to know that it is positive. I recently watched one of your Motorcycle Diaries documentaries. Do you have any more planned? I haven’t got any plans at the moment, they take up such a huge
“I suppose it’s a bit like a painter
who paints a picture.
It’s almost not the business of
the painter to tell people what they should feel or think. It’s
out there for
whatever anyone feels about it.”
34
attached from that moment on, I just wanted to do it. It took him some time to get it all together, but once he did—that was it. Loved the film and the relationship you have with Christo- pher Plummer was very touching and intense. Was it like that from the beginning? I really liked him, yeah (chuckles). I mean Mike has a
very clever way of putting actors together, he makes us do sort of exercises, but not really connected to the scenes. He made me take Christopher to a clothes shop and try to buy him jeans! I also had to throw a lunch party for all the guys, all the prime-timers, ‘Walter’s’ (Chris- topher Plummer’s character in the film) older gay friends in the movie. I had to get them lunch and stuff, get all their orders, pick up the food and get it set up for them. Exercises that made me realize what it would be like to take care of someone, how difficult emotionally it would be to look after somebody, to be a caregiver. Then the rest just took care of itself. I became fond of Christopher because he is a lovely man and he has fantastic stories! One of the interesting things about the film is that it seems like there are two being shot separately and then blended together. Is that the way it was done? Yes, we shot it like two short films. We started with the Christo-
pher story, we rehearsed for about four or five days and then shot it for two and a half weeks. Then we stopped and started rehears- ing with Melanie (costar Mélanie Laurent) for another two weeks. It was absolutely shot that way. That’s the way it is in the story, for
amount of time and I’ve got a little baby now, along with my other kids, so I don’t see in the near future taking another four or five months off to go away from them. They look very long and very intense . . . Yeah, I mean they are fantastic, it’s an amazing
experience and I’d like to do one again but not for a while I think. I would definitely wait ‘til my little baby is older and I have a bit more time. Or maybe if I land a huge film that pays me a lot of money I can take off after that (laughs). Any thoughts about what you want people to remember aboutBeginners? I don’t know, it’s up to them really, I’m always slight-
ly reluctant to say. I suppose it’s a bit like a painter who paints a picture. It’s almost not the business of the painter to tell people what they should feel or
think. It’s out there for whatever anyone feels about it. I think it does, though, really connect to people in a strong way, because it’s about things we all either know about or think about—or fear. Yes, father/son relationships are so primary. Yeah, dads, or the idea of parents getting old, or passing away,
is something that we have all either experienced or dread so that connects for people. Then there is the kind of complex love story very much of our time I think somehow. There are elements that I know Mike wrote all the elements not just from his own life, but from people he knew or knows and whose love affairs have gone in a similar direction. There is a lot to connect to in that as well I think. Thank you so much Ewan for taking the time to do this! Great, good, that is very nice, you too and thank you very much
as well!
RAGE monthly | DECEMBER 2011
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