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real life” when it transpired that Jamal, having originally returned to Pakistan with the fruits of his film labours, had since under- gone his own journey to seek asy- lum here. At the time of writing, it was not likely to be granted.
Though formulated long before the events of 9/11, actual on-the- ground research (with writer Tony Grisoni) and subsequent filming were most definitely undertaken in its turbulent aftermath.
Yet, adds Winterbottom, “on a personal level we encountered no hostility out there.” The biggest problem, he says, was obtaining visas for the two actors to get into the UK – a “bizarre situation for a film partly funded by the Government with half a million quid of Lottery money.”
What he enjoyed unequivo- cally was the sheer simplicity of the actual filmmaking process. “Basically there was the camera- man (Marcel Zyskind), the sound recordist and me on set. Film should always be like that.
“Personally I like shooting with small crews: you can do that on film or DV. But there are only cer- tain stories you can shoot with small crews. When we did The Claim [on location in Alberta] we had to build a set 7,000 feet up a mountain. We had a huge crew for that. Frankly I find that sort of scale less enjoyable. Working with a small crew just feels more relaxed, like there’s less of this tail to drag behind you.”
Revolution has also now moved actively into the business of being Executive Producers. As well as another LFF entry, Damien (East Is East) O’Donnell’s Heartlands ,and Stephen Fry’s directing debut, Bright Young Things (adapted from Evelyn Waugh’s Vile Bodies), Revolution has no fewer than 14 other films in development, including proj- ects with Nick Hornby, Emma Thompson and Roddy Doyle. Strictly “hands off” says Winterbottom of this promising new alliance.
Next up for tireless Winterbottom at the helm? “It’s called Code 46, a love story set in the near future that’s the amalgam of Shanghai, Hong Kong and Dubai. Having decided to make the film, we will then try and keep the actual mechanics of it as small and flexi- ble as possible.”
It will be Winterbottom’s fourth film with writer Frank Cottrell Boyce which partly helps to explain why he has remained so prolific.
“When we did Butterfly Kiss together we all worked for noth- ing to make it. Because we were doing it for no money there seemed a great sense of free- dom to do what we wanted to do and to experiment. That’s really been the same impulse ever since.
“Because I tend to work with the same writers, we usually have several ideas we’re working on at any one time. So, as we’re finish- ing one film there are usually two or three other films I’d like to make. We’ve also been lucky
that we haven’t had to wait too long for the money.
“Being in partnership with a producer makes it easier to keep some sort of continuity, not that the eventual finance has always been from the same source. Andrew and I are in a situation where we decide what the next film’s going to be and then have to begin the process of persuad- ing other people they want to be part of it... to have the courage of our convictions.”
Photos l-r: In This World; Michael Winterbottom and cameraman Marcel Zyskind on location in desert landscape; Comedian Steve Coogan in 24 Hour Party People; still from The Claim
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