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being what they are – ran out of money during production.
“There was only one reason why everybody kept turning up when they weren’t being paid,” Williams adds, “and that’s because our director, Mike Barker, is an extraordinary, funny, kind and hilarious visionary. We all believed this film should be made because he’s such a good guy.”
That said, there was a near mutiny on set as the money fell through not once but twice. A ten week shoot actually lasted 17 weeks as more financing was
overlook the self possessed nature and intellectual independ- ence of someone who knows their own mind and is not afraid to express herself.
“As I opened my mouth I sud- denly wished I’d just stood around in the background look- ing pretty,” she chuckles. “My life is constantly marked by me wish- ing I hadn’t said something. And I, after all, just hadn’t been paid all my money.
“The props guys were in seri- ous debt, having paid out for things, so it was all very well for
for someone making their way in movies but not necessarily the preferred destination. “I just want to get there, take what’s great and get the hell out,” Williams continues. “I don’t want to be there and have them tell me it’s time to leave.”
This may be a sensible atti- tude, and as long as she is able to slip into an American accent there seems no reason why Hollywood shouldn’t come call- ing for her once again. And, of course, it already has, although she will be retaining her authentic Brit tones as Mrs Darling in Disney’s new live-action version of Peter Pan.
Following the mainstream does not necessarily ensure a healthy mix of roles for an actor who clearly craves diversity.
“I like to think that though my [screen] range might be narrow,” Williams nods, “within that I’ve had
some variety – tough bitch, devot- ed wife, loving mother and go- ahead career woman, things like that. I don’t seem to be able to get anywhere near smack addict, or downtrodden northern housewife though. It’s not that I’m desperate to do those roles, but I don’t want to not play those things.
“I don’t want to close those doors. I want to play as many char- acters as I can – that’s the point of being an actor. I like to transform, that’s what I think is good and interesting about this job.
“But it is a job to convince people to see you as something other than a middle class Cambridge graduate. I mean I’ve never been in The Bill. I’ve made something like 20 trips down to Wimbledon South, and never got a single job.”
Sun Hill’s loss, it seems, is cine- ma’s gain.
PRODUCERS,
DO YOU WANT TO MAKE “REAL” REALITY TV PROGRAMMES?
We award development funding to programmes that offer an authentic view of the developing world.
DFID PROGRAMME DEVELOPMENT FUND 2003.
Applications are invited for the DFID Programme Development Fund 2003. The scheme, launched in October 2001, aims to support UK television producers in their coverage of the developing world. Its objective is to expand understanding of development issues and of developing countries with a special focus on factual programme proposals that illustrate global interdependence.
The scheme is administered by the Commonwealth Broadcasting Association (CBA), with funding from The Department for International Development (DFID).
The DFID Programme Development Fund supports established, UK based, television producers wishing to produce factual programmes, for UK mainstream transmission, that promote understanding of the developing world. Grants of up to £8,000 are intended to help cover the costs of research, pilot filming and the procurement of filming rights/access.
The deadline for applications in 2003 are July 16th and November 19th.
Application forms should be downloaded directly from the CBA website: www.cba.org.uk. Further information can be obtained by email from Sally-Ann Wilson (DFID Fund Executive) at sally-ann@cba.org.uk. or via the Commonwealth Broadcasting Association, 17 Fleet Street, London EC4Y 1AA. Tel. 01508 538941 (Dir.Line ) or 0207 583 5550.
sought, with Williams’ co-star and screen husband Dougray Scott putting some of his own money into the film to help get it finished.
“I’d gone to the country for a couple of days,” Williams recalls, “and when I rang the second AD’s mobile to find out when I was being picked up to discover the film had gone down.
“Then there was the surreal sight a while later of us all stand- ing in the walls of Dover cathedral in full 17th century costume hav- ing a union meeting. And I found myself in the bizarre role of union leader, dressed in this absurd outfit and ringlets. Life was as extraordi- nary as art in this case.”
It’s tempting to assume that the feistiness of her character, Lady Anne Fairfax, overtook the demure Williams at this time of crisis. But then this is probably to
me to say ‘let’s work together’, but some people really put them- selves, their mortgages, their fam- ilies on the line to get this made.”
This democratic, down to earth quality speaks of someone who remains grounded in, and devot- ed to, the theatre rather than the more hierarchical world of film. Having trained at the Bristol Old Vic, and worked her up through roles at the RSC, the stage remains close to Williams’ heart.
“I’ve learned to love film,” she says, “but I didn’t know anything about film at the time I did The Postman. It’s not like I was yearning to do movies then, but I’ve since learned to love the Zen of film act- ing. At the same time, going back to stage acting is a huge adrena- line rush which I love too.”
Hollywood, then is a place to work, a necessary stopping point
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