A Quote by Mel Smith
In this film, we took a helicopter up and showed London as a vista, which is not very often done.
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Vertigo is probably my favourite Hitchcock film and probably one of my favourite films of all time. It's a film that I'm obsessed with. I saw it on its first release in vista vision, projected in vista-vision, at the Capitol Theatre in New York. That moment when the nun comes up in the end... it's just an extraordinary shot.
The helicopter was a U.S. Navy helicopter. There were no civilian helicopters available to film companies, so they just made some stuff out of two-by-four wood. And I would straddle a two-by-four out from the helicopter with a camera and what we call a high hat, which is a low metal stand.
The first time I ever thought about doing a film seriously, I was in London. I was about 17 years old. I was just standing in the street, a bit dazzled by an Antonioni bus wipe, which by the way are inherent in London, and I imagined a film set in London starting out with the riff from The Yardbird's "Heart Full of Soul", and now, how ever many years later, I've done it.
I think one of the London Film Festival strengths is that it's set in London but it's not about London. It's about the diversity of this city and it's about world cinema. And that's what London is - London is a place where its identity is always in a state of flux. So, this festival celebrates the way in which it is always changing. That's why London is a fascinating place and that's why the film festival is a fascinating film festival.
I remember we had a visit by a helicopter at our school when I was in grade school, and I was punished that day and didn't get to see it. To this day, I am so mad I never got to see that helicopter land! I took my first ride in a helicopter recently, and that's what I thought, "Yes, finally the circle is complete!"
I didn't go to film school so my learning was done out in public and showed up on the screen.
My favourite thing is to come down to London from my home in Staffordshire in the helicopter and then get my bike out of the back and cycle into London. It's wonderful.
It's incredible how London-centric the theatre world is. Certain actors won't travel away from London anymore for work; practitioners often aren't taken seriously enough unless their work is seen in London; and it's sometimes very difficult to get national critics to review shows - especially if there's a clash with a London press night.
As I was getting into the helicopter, a slightly nervous actor said to me, "Whatever you do, don't say to the helicopter pilot, 'Show me what this baby can do.'" So I of course, got into it and said, "Show me what this baby can do." And we just had this insane helicopter ride. It's the sort of thing you only get to do on movie sets. I'm so lucky to have done it and have that chance.
I'm not getting up in the helicopter. I have a premonition that I'm going to get killed in a helicopter crash.
loneliness can fly a helicopter through a cut-out shape of a helicopter the same size as the helicopter and that's it's only skill and it isn't good enough but it's still amazing.
Certainly it's very difficult to keep momentum going through a film which has as many characters as this does, and the piece took on a life of its own to try and shape it. That took all the time we had in editing.
As far as cities, I love London. I go to London very often because I think the young people there are very creative. I also love New York, of course, and the clash of different cultures you find there.
I hope it's always going to be a mix between theatre, film and radio. I've been very lucky living in London that you can do all that - in New York and L.A., there's more of a structure for film in L.A. and theatre in New York. In London, our industry is smaller, but it produces brilliant work all in one place.
My character in 'Cocktail' was different from my personality. Homi Adajania took me to London, showed me how girls dress and behave there. I had not seen that kind of lifestyle before.
I didn't have anything to do with selecting IFC. I don't have anything to do with distribution, or business, or marketing, but think it's a good choice by Graham, and perfect for London Boulevard. It gets the picture straight into a dialog with the public, and it doesn't set the sights too high. They're very hip at IFC, and they get the film. The cineplex hasn't done film any favors as an art form.
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