Alan Rickman has a huge presence in the Perfume: The Story Of A Murderer and takes an enormous amount of space with no effort. I wanted somebody to leave behind a strong impact and be a threat for Grenouille. When Alan takes to the screen, we immediately know there's an intelligent, instinctive and powerful force, so if he's pursuing our main guy then our main guy is in trouble.
Alan Rickman told me to do a play, so I did. Because when Alan Rickman tells you do something, you go and do it.
I wanted to create a believable feeling for 18th Century reality in the Perfume: The Story Of A Murderer. I didn't want this typical film feel of strange people in strange costumes, not really knowing what to do or how to move. If you put an 18th Century costume on Alan Rickman, it looks like he's been wearing it forever because he inhabits the stuff. He is a character that can really travel in time as an actor and transform into this 18th Century person with seemingly no effort.
I love that contradiction between the ugly and the nice. It's shot in a very gourmet way in the Perfume: The Story Of A Murderer. But then Grenouille doesn't differentiate between what's commonly considered to be good smells and bad. He just takes it all, like a true collector does.
When you had the fangs in, you wanted to be a little bit careful that you didn't actually pierce the jugular, kind of like my experience shaving Alan Rickman, which by the way neither of us want to do again, especially Alan.
Alan Rickman's Hans Gruber is the greatest bad guy in a movie ever.
We're all capable of being more than we presently are, and the effort that it takes and the will that it takes and sometimes the trauma and tragedy that it takes to force us into that kind of growth is the story of our lives.
When I first met Alan, I was absolutely terrified. I was 19, he was Alan Rickman, and he's got that voice, and I remember meeting him in the hair and make-up trailer and thinking, 'I'm going to die. He thinks I'm rubbish. Why am I here?'
I saw Ben Whishaw playing Hamlet at the Old Vic and straight away had a very strong sense that he might be the end of a very, very long road of searching for the right guy. He did an amazing audition, where it all came across this, instinctive feeling that he obviously had for the character in the Perfume: The Story Of A Murderer.
There is an enormous thrust in our time to have a simple answer. And that simple answer is that all depends on Alan Greenspan and the Federal Reserve. And Alan, who is an old acquaintance of mine, is a marvelous performer in the impression he gives of enormously great perception.
You know, he [Alan Rickman] played these very reserved, sometimes-cold, sometimes-threatening characters on the screen, but the reality of the man was incredible warmth and humor and generosity and wicked fun.
I remember having an argument with Alan, I said the Queen's not just going to call the guy up and send him out to do it. And Alan says, well, how would a monarch give orders to her assassin.
Alan Moore does have a sheen of class. He's a smart guy, and I'm sure there was a metaphoric level, I'm not denying that, but let's face it. the main reason he was doing a super-hero comic was because he was working for a super-hero comic book company.
I certainly think that he [Alan Rickman] was a kind of actor who needed to grow into his maturity to realize the potential, the huge potential that he had.
Alan is a great guy, a terrific guy. We haven't worked together since then, and he's always working with different artists. I think he sees different dimensions he can see from different guys.
Said of her husband on the day their divorce became final: Oh, don't worry about Alan. . . . Alan will always land on somebody's feet.
So-called reality TV, which dominates British channels, is destroying what made it cherishable to me and lots of others in the first place. I loved Alan Clarke, Ken Loach and Alan Bleasdale's work. In fact the first TV dramas I ever saw were 'Screen Twos' produced by David Thompson, who also produced a lot of Alan Clarke.