Laura Macdonald, our Head of Programming, delves into the multi-award winning and Oscar
Laura Macdonald: Congrats on all the exciting nominations and awards the world over. What do you think resonates with audiences the most?
Emile Sherman: I think it's the story of an unlikely friendship, and the struggle of King George VI as he confronts his fears and finds his voice. It's the emotion of the story that seems to be resonating so strongly with audiences.
LM: Are you enjoying the ride or are you too busy to take it all in - perhaps you can you describe what's going on in your world at present, as it feels like the film has taken on a life of its own?
ES: It really is just too much to take in at once. Hoping that once it is over I'll be able to digest it!
LM: Roughly what is the Brit v Aussie ratio (in front of and behind the camera) - it is officially a UK film yes?
ES: It is officially a UK film, but so many of the key elements are from both the UK and Australia. The characters, the actors, the director (who is half Australian) and the producers. It's a true Anglo/Australian production.
LM: Was our beloved Geoffrey the only man for the job playing the 'unconventional speech therapist' - is it true he had the script slipped under his door in Melbourne long before anyone else was attached?
ES: Yes that's true. He was attached from very early on and a great champion of the project.
LM: How did See-Saw find the story, and what was it that compelled you to take on the project?
ES: We were sent a very early draft of the stage play by Gareth Unwin, the other producer. Having just set up See-Saw, which is an Australian/UK production company, naturally the 'clash of cultures' element was very attractive. But we also fell in love with this story - one we felt had a real potential to connect with audiences.
LM: Tom Hooper doesn't seem a likely choice as Director, but we hear he had a strong connection to the story?
ES: His parents had been to an early reading of the stageplay. His mother is Australian and father English so he had an innate understanding of the clash of cultures that lies at the heart of the story. He was so passionate about this film and such a talented director.
LM: Colin Firth is very good at playing angst ridden characters, but he's usually rather suave and debonair - how did he relish and rise to the challenge of playing a stuttering would-be monarch, who is transformed by an Aussie?
ES: Colin really embraced the part and worked so hard in rehearsals and through the shoot. He even developed an involuntary stutter during production.
LM: Do you feel this film could be thought of as subversive - the suggestion that a particular type of Aussie therapy helped the royal family to endure?
ES: I think Logue had to be Australian, and that the Australian anti-authoritarian nature is key to this story and his ability to 'cure the king'. No speech therapist in England could have treated him as an equal.
LM: There are so many iconic British actors in this film (Firth, Derek Jacobi, Anthony Andrews, Helena Bonham Carter...) But another Aussie (Guy Pearce) was cast as Edward VIII - why?
ES: We really just focused on who was the best for the role. Guy felt like a natural fit for the Edward VIII and he did a marvellous job.
LM: How is it possible to top this project - what's next for See-Saw?
ES: Each project we do is naturally so different. We're working with Steve McQueen on Shame. He's an incredible director. And we're working with Jane Campion, who is one of the greats - so we're excited about the future.
