Check out the trailer for the upcoming comedy horror THE RADLEYS starring Damian Lewis, Kelly Macdonald, Harry Baxendale, Bo Bragason, Jay Lycurgo, Siân Phillips and Shaun Parkes.
Award-winning actors Kelly Macdonald (No Country For Old Men) and Damian Lewis (“Billions,” Once Upon a Time…in Hollywood) star in a dark comedy thriller about a seemingly average suburban family with a juicy secret: they are vampires. In the light of day, the Radleys might seem normal, but they can only abstain from their natural cravings for so long until the bloody truth bubbles to the surface and turns their quiet country life upside down.
The film opens in theaters, On Digital and On Demand October 4.
Colin Firth as Ewen Montagu and Matthew Macfadyen as Charles Cholmondeley, in OPERATION MINCEMEAT. Photo Credit: Giles Keyte/See-Saw Films, Courtesy of Netflix
“Truth is stranger than fiction” stories are often the best, and the true story behind the British WWII tale OPERATION MINCEMEAT is plenty strange, and surprisingly impressive in its audacity and brilliant execution. Colin Firth (THE KING’S SPEECH) and Matthew Macfadyen (TV’s “Succession,” PRIDE AND PREJUDICE) star as a pair of WWII British intelligence agents with an odd idea for a ruse to plant false information, aimed at Hitler, about a planned Allied invasion of Nazi-occupied Europe, using a most unlikely spy: a dead man. Director John Madden’s thriller OPERATION MINCEMEAT inevitably has the potential for gallows humor, given that outrageous idea, but it is also a tale about an impressive intelligence operation that actually took place and, moreover, played a pivotal role in the war. Add in the fact that the two agents are working partly with a creative young intelligence agent named Ian Fleming (yes, that Ian Fleming, the guy who wrote the James Bond stories), and you have a lot of juicy factual material to work with.
In addition to Firth and Macfadyen, OPERATION MINCEMEAT has an excellent cast that includes Kelly MacDonald, Penelope Wilton, Mark Gatiss, Jason Isaacs, Johnny Flynn and more. With all that, you have all the elements in place for an engrossing historical true story but one that is different from the usual WWII tale. It is a different kind of war story, one that takes place far from the battlefield, but what these individuals are doing in secret proves crucial to the Allies’ success in the war.
It is 1943, and British troops have been battling Nazi troops in grueling conditions in Africa and Asia, but are now poised to launch an invasion of Nazi-occupied Europe. The most obvious landing spot for that assault is Sicily but the Allies will face daunting odds against the entrenched Axis forces. Unless the Allies can convince Hitler that the attack will come elsewhere, specifically Greece, Allied troops will likely face massive loss of lives and potential failure of the invasion. If the invasion of Italy fails, it would be as catastrophic as if D-Day had failed. The stakes could not be higher.
Desperate to come up with a plan, the Brits turn to their intelligence community. Ewen Montagu (Colin Firth), a brilliant barrister turned intelligence officer, and Charles Cholmondeley (Matthew Macfadyen) are part of a team of British intelligence agents tasked with finding a ruse that will persuade Hitler that the Allies plan to land in Greece instead of Sicily, and make him shift his troops there. Drawing from a handbook of spy craft and subterfuge created by an intelligence officer named Ian Fleming (Johnny Flynn), Montagu and Cholmondeley pick out an outrageous idea: to plant false secret information on a dead body and then arrange for the Nazis to find it. Their “agent” will seem to be a courier who died in a plane crash at sea and washed up on the coast of Spain, a fascist but neutral country. The plan then calls for secret efforts to guide the information straight to Hitler’s eyes. The idea is so far-fetched that it faced significant opposition but eventually the plan is approved by Churchill. Montagu and Cholmondeley (whose name is pronounced “Chumley”) are assigned to lead the top secret Twenty Committee of Naval Intelligence, and a dingy basement office for their work. Montagu’s long-time assistant and friend Hester Leggett (Penelope Wilton) and a clever, young office worker, Jean Leslie (Kelly Macdonald), also join the team working on the plan, which is dubbed “Operation Mincemeat.”
In order to pull off this plan, the team has to devise a complete story and convincing persona for their “agent,” as well as create a convincingly worn uniform, the contents of a wallet and personal effects, and numerous other details, along with the documents to convince the Germans of a secret plan to invade Greece. They also must decide where (and how) to get the body off the coast of Spain, and then guide it to the right people so the information goes straight to Hitler, while convincing the Spanish and Germans that the Allies were desperate to retrieve the documents about the faux invasion plans. No detail can be overlooked, because discovery of the ruse means disaster for the troops.
They also need a body to play the part. You would think that finding a dead body in wartime would be easy, but no. For one thing, the dead person has to meet strict criteria: be young and look convincing as British officer, and appear to have drowned, as the Germans will certainly do forensics on the corpse. They have their work cut out for them.
Oddly, one of the first things the team does in constructing this complicated ruse is obtain the dead body to play the part, which means there is a ticking clock immediately running, as they race to get all the pieces in place for the ruse before the dead body becomes too far gone to be useful. Meanwhile, as they work furiously on the project, a kind of love triangle develops with Montagu, Cholmondeley and Jean Leslie.
The idea is so outrageous, and the steps they take to make sure every detail is seamless are fascinating, making this rich material for an entertaining film about in this behind-the-scenes WWII true story. Plus, OPERATION MINCEMEAT features a splendid cast of talented Brits, and the cast alone is a treat for fans of British films and television series.
OPERATION MINCEMEAT features voice-over narration that seems a bit flowery at first, until you realize that the narrator is Ian Fleming, played with charm by Johnny Flynn. There is a running joke about Fleming, and a seeming host of others in the offices, typing away on novels in their spare moments, on the office typewriters. There are plentiful references to the British tradition of adventure novels, particularly John Buchan and his bestseller “The 39 Steps.” Director John Madden is famous for such period works as SHAKESPEARE IN LOVE, so he handles all that well here, but the director is less known for comedy. To be clear, this is not a comedy, but it does have a bombastic, humorous element, and sometimes a little inner “Weekend with Bernie” wants to come out.
Madden’s attention to period detail is flawless and the photography splendid as well. The concept of storytelling is a strong theme in this film, where the team is writing the story of their fictional agent, while several people involved are writing their own novels. The film is based on a book by Ben Macintyre, but director John Madden and scriptwriter Michelle Ashford build the film around the characters as much as the surprising story. In the course of their work, Montagu and Cholmondeley develop a close friendship, but it is strained by the fact that they are both attracted to Kelly Macdonald’s Jean. In addition to the romantic rivalry, both Montagu and Cholmondeley have complicated personal lives that add to the tension as they work.
The fact that the film has so much going on – the clandestine operation, the love triangle, the complex personal stories of Montagu and Cholmondeley, and the storytelling theme – means holding a focus is a challenge. At times, that complexity actually works against the film as a whole, making a bit cluttered and unfocused. This is a fascinating true story but all the moving parts makes it feel as if Madden did not quite trust the appeal of this unlikely tale. There is enough material here for a couple of good movies but less may have been more in this case. Still, the cast is wonderful, the little touches of humor, and the basic unexpectedness of the true story do add up to an entertaining film highlighting the brilliance of these unsung war heroes and this remarkable untold story.
OPERATION MINCEMEAT opens at Landmark’s Plaza Frontenac Cinema and other theaters on Friday, May 6, and debuts streaming on Netflix on May 11.
PUZZLE is currently available on DVD. It stars Kelly Macdonald, Irfan Khan, David Denman, Liv Hewson and is directed by Marc Turtletaub.
We Are Movie Geeks is offering a terrific giveaway.We will be rewarding as prizes two puzzles. One was used in the movie (an actual prop!) and the other will be of the PUZZLE movie poster art. Both puzzles will also include the new PUZZLE DVD.All you have to do is leave a comment telling us the biggest jigsaw puzzle (in terms of number of pieces) that you’ve ever assembled. It’s so easy! GOOD LUCK!
1. YOU MUST BE A US RESIDENT. PRIZE WILL ONLY BE SHIPPED TO US ADDRESSES. NO P.O. BOXES. NO DUPLICATE ADDRESSES.
2. WINNER WILL BE CHOSEN FROM ALL QUALIFYING ENTRIES.
After years of concerning herself exclusively with the needs and wants of her husband and sons, Agnes has found something that she wants to do: puzzling. Stepping out of her domestic bubble to pursue her new hobby, Agnes meets Robert, a wealthy, reclusive inventor who recruits her as his partner for an upcoming world jigsaw tournament. Each day she spends out in the world, takes Agnes further along on the road to a new understanding of herself and an assertiveness that finds her pushing back against the assumptions and routines that have until now defined her role in her family.
(l-r) Kelly Macdonald and Irrfan Khan star in PUZZLE. Photo courtesy of Sony Pictures Classics.
Competitive jigsaw puzzle solving does not sound exciting but the surprisingly engrossing PUZZLE is more about a woman discovering herself than completing a puzzle. The real puzzle she is solving is who she is.
PUZZLE opens with a woman in an old fashioned dress preparing her home for a birthday party. After we see her waiting on guests, cleaning up after them and bringing out the cake she baked, we discover it is her birthday. Her dress and the decor of the house suggest it is the 1930s or ’40s, so we are again surprised when, after the guests are gone and she is opening gifts, one of them is a smart phone – revealing we are in the present. She doesn’t seem too pleased with the phone but is more interested in the next gift – a 1000 piece jigsaw puzzle.
Oddly, it is the puzzle rather than the smart phone that changes her tidy, predictable life. Agnes (Kelly Macdonald) is a quiet, old- fashioned, traditional wife and mother whose life revolves around her family, home and church. She is not interested in the outside world and seems content, even happy, to care for her mechanic husband and two teen-aged sons. But it is a life of stifling routine, one without challenges, where she is marking time. Her chores done and with time on her hands, Agnes sits down to do her jigsaw puzzle.
While it is would take most of us several days to put together a 1000 piece jigsaw puzzle, Agnes completes it easily in an few hours. Pleased with the sensation of accomplishment it gives her, she does it again before dinner.
It turns out Agnes is a jigsaw puzzle prodigy and a new hunger for puzzles leads her to a puzzle shop in nearby New York and a man (played with irascible charm by Irrfan Khan) looking for a partner for a jigsaw puzzle competition. But this film is not about the world of jigsaw puzzle competition but about this woman’s journey to self discovery.
Directed by Marc Turtletaub, PUZZLE is actually a remake of a drama by Argentinian director Natalia Smirnoff, a film which won praise at the 2009 Berlin Film Festival.
The acting is the strong point of this remake. The role gives Scottish character actress Kelly Macdonald a chance to shine, as Agnes figures out how her gift for puzzles fits into her life. Casting Macdonald was a brilliant choice, as it a perfect step beyond the servant or wife roles the actress frequently plays, such as in GOSFORD PARK and NO COUNTRY FOR OLD MEN. Pairing her with Irrfan Khan, Agnes’ complete opposite as an oddball tech millionaire obsessed with competitive puzzling, is a perfect move as well, and their scenes together are crackling. The rest of the supporting cast are strong foils allowing Macdonald to explore Agnes’s inner life.
PUZZLE is an acting tour-de-force by Kelly Mcdonald as a woman reconsiders her assumptions about her life and herself.
And once more we dive into the overflowing sea of films “inspired by true events”, though it has a touch of the “biopic”. Much as with the recent Mark Felt and Thurgood Marshall movies, it doesn’t offer a “cradle to grave” overview of the person’s life. But it certainly covers a bigger “chunk” than those flicks, going from the first World War to the second. Plus, it can considered an “origin” story of a favorite popular culture icon as with last weekend’s PROFESSOR MARSTON AND THE WONDER WOMEN (still miffed that it wasn’t shown to the press), and like the princess, one that’s still very favored by the younger set, starring in a still steady stream of feature films (though most go straight to home video). This is the saga of author A.A. Milne whose son inspired him to write the tale of Winnie the Pooh and his pals in the Hundred Acre Woods. Yes the “silly old bear” had a real life human friend, as we learn in GOODBYE CHRISTOPHER ROBIN.
The story begins far from those benign woods, as one of Britain’s most celebrated authors, A.A. Milne (Dominhall Gleeson) witnesses the all too real horrors on the bloody battlefields of WWI. At war’s end he returns to England and re-unites with his gorgeous socialite wife Daphne (Margot Robbie). Though he’s done with the war, it’s not done with him as he experiences a form of PTSD, going into panic mode when surprised by a loud noise (a balloon pop, etc.). London seems to be squelching his creativity, so Daphne suggests they move to the country (a change of scenery should produce lots of poems and plays). They settle into Cotchford Farm in Hartfield, East Sussex, far from the noisy city and right next to a lovely wooded area. Milne, “Blue” to his wife and friends, is more interested in fixing chicken coops than writing. Soon Daphne gives birth to a child, Christopher Robin, though they call him “Billie Moon”. After she hires a young nanny named Olive (Kelly Macdonald), a frustrated Daphne declares that she will go to London to shop for wallpaper and will not return until Blue starts writing once more. Billie, now eight (Will Tilston) becomes Blue’s main focus. Watching his son play with his stuffed animal toys in the forest fires up his creativity. When his old collaborator, artist Ernest Shephard (Stephen Campbell Moore) visits the farm, they try to bring Billie’s flights of fancy to illustrated life. The result is the literary debut of Winnie the Pooh, a smash hit. Upon Daphne’s return, they are swamped with fan mail as the press swarm about their little lad. But will this sudden success and fame destroy the family and damage the boy?
The role of the troubled Milne provides a terrific showcase for the talented Gleeson. We see the horrors of battle through his listless, haunted eyes which slowly spark back to life through the delight of fatherhood. Gleeson has that upper-crust rigid demeanor down pat as Blue begins to let his guard down to dive into that magical forest. But the most complex role may be that of his wife Daphne. She’s at times a dithering party girl, then a tough task master to her hubby (a demanding muse), Robbie treads a delicate balance between being unwittingly insensitive and unashamedly cruel. She takes a risk with this often unlikable character and it truly pays off. Bravo to her bravery. The most sympathetic performance is that of Macdonald as the truly caring care-giver whose only motivation is protecting her dear charge. And what a find Tilston is as the title character. With a shiny Jackie Coogan page-boy do’ and devastatingly deep dimples (Shirley Temple doesn’t hold a candle to those “dents”), his eyes sparkle with wonder, then he breaks our hearts as he yearns for affection from his papa. It’s a rare child performance that’s sweet, but never cloying. His C.R. is the precious boy of any parent’s dreams.
Director Simon Curtis (THE WOMAN IN GOLD) has crafted a touching true tale that is much tougher than expected. Certainly the forest strolls are magical, evoking those timeless stories. But success doesn’t make life more pleasant. Though set 90 years ago, the Milnes’ saga offers a timely commentary on the pitfalls of fame. Billie was a real “rock star” as his parents allowed and encouraged the frenzy that ate away at his childhood, even as Olive tried to shield him ( a zoo photo shoot seems unbelievable until we see the actual photo during the end credits). The art director recreates the twenties with visual splendor as the cinematographer bathes everything in a nostalgic golden glow. And unlike many films about writers, we see how life unlocks ideas rather than enduring long shots of putting pen to blank paper. GOODBYE CHRISTOPHER ROBIN is a splendid ‘behind the pages” look at a world that continues to entrance and delight children and adults. It’s as tasty as a dollop of fresh honey.
GOODBYE CHRISTOPHER ROBIN gives a rare glimpse into the relationship between beloved children’s author A. A. Milne (Domhnall Gleeson) and his son Christopher Robin (Will Tilston), whose toys inspired the magical world of Winnie-the-Pooh. Along with his mother Daphne (Margot Robbie), and his nanny Olive (Kelly Macdonald), Christopher Robin and his family are swept up in the international success of the books; the enchanting tales bringing hope and comfort to England after the First World War. But with the eyes of the world on Christopher Robin, what will the cost be to the family?
Directed by Simon Curtis (WOMAN IN GOLD, MY WEEK WITH MARILYN), the film opens in St. Louis on October 20th.
WAMG invites you to enter for the chance to win TWO (2) seats to the advance screening of GOODBYE CHRISTOPHER ROBIN on October 17 at 7:00 pm in the St. Louis area.
Answer the following:
What are the titles of the two volumes that A.A. Milne wrote for his son, Christopher Robin, about his teddy bear known as Winnie-the-Pooh?
TO ENTER, ADD YOUR ANSWER, NAME AND EMAIL IN OUR COMMENTS SECTION BELOW.
OFFICIAL RULES:
1. YOU MUST BE IN THE ST. LOUIS AREA THE DAY OF THE SCREENING.
2. No purchase necessary. A pass does not guarantee a seat at a screening. Seating is on a first-come, first served basis. The theater is overbooked to assure a full house.
Fox Searchlight UK has featured a lovely new motion poster for the upcoming film GOODBYE CHRISTOPHER ROBIN. From director Simon Curtis (WOMAN IN GOLD, MY WEEK WITH MARILYN), count on it to be in this year’s awards season mix.
GOODBYE CHRISTOPHER ROBIN gives a rare glimpse into the relationship between beloved children’s author A. A. Milne (Domhnall Gleeson) and his son Christopher Robin (Will Tilston), whose toys inspired the magical world of Winnie the Pooh. Along with his mother Daphne (Margot Robbie), and his nanny Olive (Kelly Macdonald), Christopher Robin and his family are swept up in the international success of the books; the enchanting tales bringing hope and comfort to England after the First World War. But with the eyes of the world on Christopher Robin, what will the cost be to the family?
GOODBYE CHRISTOPHER ROBIN opens in select US theaters November 10 and in UK cinemas on September 29.
How do you breathe new life into a 100 plus year old story that’s known by mullions worldwide? First you cast one of the most popular young actresses in the title role. And so Keira Knightley stars as Leo Tolstoy’s ANNA KARENINA. But that’s not quite enough for director Joe Wright (ATONEMENT) working from Tom Stoppard’s (SHAKESPEARE IN LOVE) screen adaptation. Wright doesn’t change the time period (the 1880’s) or the setting (Russia), but he uses several modern technology film tricks to make a version that is like no other. But will all these bells and whistles really enhance this new telling of romance and scandal?
The plot primarily centers on Anna (Knightley), the wife of older statesman Count Alexei Karenin (Jude Law) and mother to their 8 or 9 year-old son Sergei. She travels to visit her brother Stepan (Matthew Macfadyen) in order to mend the rift when his wife Dolly (Kelly Macdonald) learns of his affair with their children’s nanny. On the train Anna meets the dashing young cavalry officer Count Vronsky (Aaron Taylor-Johnson), a suitor of Dolly’s younger sister Kitty (Alicia Vikander). Vronsky is immediately smitten with the older Anna, and at a party for Kitty he lavishes all his attention on Anna. Kitty then turns to another suitor, Levin (Domhall Gleeson). In a subplot the two marry and return to his expansive country estate and farm. Meanwhile the affair between Anna and Vronsky causes a scandal in Moscow society circles. When Anna tries to leave her husband, Karenin threatens to cut her off from their son. Soon Anna is shunned by the aristocracy. Will she follow her passion with Vronsky or return to her former dull life?
For this new version we must believe in the passionate romance at the story’s center. Unfortunately Ms. Knightley and Mr. Taylor-Johnson just never seem to really click on screen. I’ve enjoyed much of her work (particularly in A DANGEROUS METHOD) and he was very strong in NOWHERE BOY and KICK-ASS, but there’s no real screen sparks here. She seems much too young to be the mother of a nine year-old (and too close to Vronsky’s age) and doesn’t possess the worldliness the character demands. Her infatuation with the young officer is too manic and her final desperate act reeks of selfishness. That same selfishness emanates from Vronsky also. With his impeccable fashions and preening (no hair is ever out of place) he comes across as a 19th teen pin-up. His immediate fixation on the married Anna remains a mystery. Her husband Count Karenin isn’t a cruel monster who would drive his wife into the arms of another. The film makes try to de-glamorize him, but Law’s handsome features are only slightly dulled by a poor haircut, spectacles, and scratchy beard. Sure the guy’s a bit of a cold fish, but he’s got more patience for his wife’s histrionics that most men would have. A great supporting cast can’t make up for the film’s problems with the central love triangle.
The staging (emphasis on stage) also hinders our emotional involvement in this tale of doomed, forbidden love. Wright has set the proceedings in an elaborate, fantasy theatre. The action spills from the stage onto the orchestra pit, then goes backstage with flats and scenery tucked into corners. Characters even climb stairs and have dialogue in the theatre’s rafters next to cable and sandbags. These intricate camera tricks just distract us from the plot and make everything seem distant and artificial. Wright does a bit of cheating when dealing with Levin’s country home (we’re trudging through endless fields of snow with him), a horse race, and a fireworks display (the theatre’s roof opens up to allow the rockets to explode in the night sky). I’m reminded of the elaborate Busby Berkley numbers from his thirties musicals. The sequences would end with unintended laughter when the final shot revealed the appreciative theatre audience split screened with the waterfalls and dancing multitudes. The actors are also saddled with outrageously intricate hand gesturing at a formal dance and the rhythmic filing and stamping by the minions at Stepan’s massive office. It’s clever, but they ultimately get in the story’s way. The costumes and hair styles are lovely, but they can’t overcome the film’s forced theatricality. Either make a movie or produce a play for goodness sake! The decision to do both does no service to Tolstoy’s immortal heroine.
Director Joe Wright brings to the screen the epic love story ANNA KARENINA, starring Keira Knightley and adapted from Leo Tolstoy’s classic novel by Academy Award winner Tom Stoppard (“Shakespeare in Love”). The story unfolds in its original late-19th-century Russia high-society setting and powerfully explores the capacity for love that surges through the human heart, from the passion between adulterers to the bond between a mother and her children. As Anna (Ms. Knightley) questions her happiness, change comes to her family, friends, and community.
ANNA KARENINA is in theatres November 16 (Limited).
Focus Features and WAMG invite you to enter to win a pass to the advance screening of ANNA KARENINA on November 20 at 7PM in St. Louis.
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1. YOU MUST BE IN THE ST. LOUIS AREA THE DAY OF THE SCREENING.
2. FILL OUT YOUR NAME AND E-MAIL ADDRESS BELOW. REAL FIRST NAME REQUIRED.
3. ANSWER THE FOLLOWING QUESTION: ANNA KARENINA is the third collaboration of Academy Award nominee Keira Knightley with director Joe Wright, following the award-winning box office successes of which TWO other films?
WINNERS WILL BE CHOSEN THROUGH A RANDOM DRAWING OF QUALIFYING CONTESTANTS. NO PURCHASE NECESSARY. PASSES WILL NOT BE SUBSTITUTED OR EXCHANGED. DUPLICATE TICKETS WILL NOT BE ACCEPTED.
The film is RATED R.
The timeless story powerfully explores the capacity for love that surges through the human heart, while illuminating the lavish society that was imperial Russia. The time is 1874. Vibrant and beautiful, Anna Karenina (Ms. Knightley) has what any of her contemporaries would aspire to; she is the wife of Karenin (Jude Law), a high-ranking government official to whom she has borne a son, and her social standing in St. Petersburg could scarcely be higher. She journeys to Moscow after a letter from her philandering brother Oblonsky (Matthew Macfadyen) arrives, asking for Anna to come and help save his marriage to Dolly (Kelly Macdonald). En route, Anna makes the acquaintance of Countess Vronsky (Olivia Williams), who is then met at the train station by her son, the dashing cavalry officer Vronsky (Aaron Taylor-Johnson). When Anna is introduced to Vronsky, there is a mutual spark of instant attraction that cannot – and will not – be ignored.
The Moscow household is also visited by Oblonsky’s best friend Levin (Domhnall Gleeson), an overly sensitive and compassionate landowner. Levin is in love with Dolly’s younger sister Kitty (Alicia Vikander). Inopportunely, he proposes to Kitty but she is infatuated with Vronsky. Devastated, Levin returns to his Pokrovskoe estate and throws himself into farm work. Kitty herself is heartbroken when, at a grand ball, Vronsky only has eyes for Anna and the married woman reciprocates the younger man’s interest.
Anna struggles to regain her equilibrium by rushing home to St. Petersburg, where Vronsky follows her. She attempts to resume her familial routine, but is consumed by thoughts of Vronsky. A passionate affair ensues, which scandalizes St. Petersburg society. Karenin is placed in an untenable position and is forced to give his wife an ultimatum. In attempting to attain happiness, the decisions Anna makes pierce the veneer of an image-obsessed society, reverberating with romantic and tragic consequences that dramatically change her and the lives of all around her.
A Focus Features presentation of a Working Title production. A Joe Wright Film. Keira Knightley, Jude Law, Aaron Taylor-Johnson. ANNA KARENINA. Kelly Macdonald, Matthew Macfadyen, Domhnall Gleeson, Ruth Wilson, Alicia Vikander. With Olivia Williams and Emily Watson. Casting by Jina Jay, Dixie Chassay. Choreographer, Sidi Larbi Cherkaoui. Music by Dario Marianelli. Hair and Make-up Designer, Ivana Primorac. Costume Designer, Jacqueline Durran. Editor, Melanie Ann Oliver. Production Designer, Sarah Greenwood. Director of Photography, Seamus McGarvey, ASC, BSC. Co-Producer, Alexandra Ferguson. Executive Producer, Liza Chasin. Based on the novel by Leo Tolstoy. Screenplay by Tom Stoppard. Produced by Tim Bevan, Eric Fellner, Paul Webster. Directed by Joe Wright. A Focus Features Release.
Hi guys! Melissa here with a BRAVE new tale. This week I had the chance to attend the BRAVE press day Monday, June 18th at the Loews Hollywood Hotel in Hollywood, California. Kelly Macdonald (Merida), Kevin McKidd (Lord MacGruffin and Yound MacGruffing), and Craig Ferguson (Lord Macintosh) were all present, as well as Mark Andrews (Director) and Katherine Sarafian (Producer). Below, you will find the Q&A from Kelly Macdonald, Kevin McKidd, and Craig Ferguson.
Set in the rugged and mysterious Highlands of Scotland, Disney•Pixar’s “Brave” follows the heroic journey of Merida (voice of Kelly Macdonald), a skilled archer and headstrong daughter of King Fergus (voice of Billy Connolly) and Queen Elinor (voice of Emma Thompson). Determined to change her fate, Merida defies an age-old custom sacred to the unruly and uproarious lords of the land: massive Lord MacGuffin (voice of Kevin McKidd), surly Lord Macintosh (voice of Craig Ferguson) and cantankerous Lord Dingwall (voice of Robbie Coltrane), unleashing chaos in the kingdom. When she turns to an eccentric Witch (voice of Julie Walters), she is granted an ill-fated wish and the ensuing peril forces Merida to harness all of her resources—including her mischievous triplet brothers—to undo a beastly curse and discover the meaning of true bravery. Directed by Mark Andrews and Brenda Chapman, and produced by Katherine Sarafian, “Brave” is a grand adventure full of heart, memorable characters and signature Pixar humor.
Q&A With CRAIG FERGUSON, KELLY MACDONALD, & KEVIN MCKIDD
Q :We all know the Disney Princess franchise is huge.
KELLY :Yes.
Q :Number one, what was your first feeling when you knew you were going to be the newest Disney Princess? And secondly, do you have any plans to continue with the voice of Merida in any future projects, whether they be toys or more films?
KELLY :Um, I, ah, um, attention to detail is not my strong point and – and I have, it – it quickly passed my by that I was going to be the first female protagonist in a, in a Pixar movie until quite recently, until, really until I started doing interviews. Um, and I – I’m kind of glad that I didn’t know what I was doing, because it would have been a lot of pressure. But, um, it, I don’t think, I – I don’t think I personally have watched a Pixar movie and – and felt – felt wronged in that there wasn’t a female protagonist. I think that, you know, they make films about fish, and toys, and robots, and, you know, and there’s some really strong female characters in those films and in the INCREDIBLES and – and Jessie from TOY STORY. So I never felt like I was, um, missing out on that. But I am very, I feel very privileged having said all that, I am very privileged. And what was the second part?
Q :Are you continuing with the voice in any future parts?
KELLY :No, I – I mean, I – I – I’ve been doing, ah, there is kinds of kids games, Leapfrog games and – and video games. I actually did more voice work on the video game then I did in the actual movie.
CRAIG :Disney is so powerful that Kelly no longer owns her own voice. [Laughs]. So, ah, as she speaks to you now, she begins to owe the Disney Corporation money.
KELLY :Money. Yeah. [Laughs]
CRAIG :I will now answer all of her questions. [Laughs]
Q : Oh, thank you. Kelly, first of all, I’m sorry. Two things, are you the go to girl now for Scottish heroines?
CRAIG :Scottish heroin.
KELLY :I know, Scottish heroin. I don’t know where you heard that nasty rumor, ah, no.
Q : But to what extent could you identify with this character? I mean, was there any aspect of it that you could relate to?
KELLY :I think what you, I wasn’t, I wasn’t Merida-like when I was a teenager. I was, I was, she’s very adventurous and outdoorsy and energetic, and I was not. I was indoorsy and, um, just not. Um, but I – I was a teenage girl, so that was the – the thing that I can, ah, I, ah, zoned in on really. I, like I – I, you know, it’s that all teenagers are awful, but teenage girls are kind of worst I think, than teenage boys.
Q : What about her rebelliousness?
KELLY :What about her rebelliousness?
Q : Can you relate to that?
KELLY :No, well, I, my mom was really, I could have done with a bit more of that to be honest, something to rebel against. I didn’t really, she was very, um, easy-going and I didn’t have much to rebel against. I kind of, you know, I moved, I moved, I moved away from home when I was 17 and that was fine. And, you know, I – I made my own choices quite early on.
Q : For all three of you, great performances. I just wanted to ask you, most of the time in animation, the voice actors go into a booth by themselves and the director is there and someone’s there feeding them lines and so forth. Did any of you have an opportunity to work either with each other in the booth or with anyone else during the whole process.
KEVIN :No, no, not at all. I mean, everyone was in different areas of the country and parts of the world. So there wasn’t, it was a shame, but I think (Producer) Katherine Sarafian so often says that, we never would’ve gotten any work done if we were all in the same room, you know.
KELLY :That’s true.
KEVIN :Um, but no, it was a shame we didn’t get a chance to do sessions together, but no we didn’t.
KELLY :Did they normally do that, I don’t know if that’s the norm?
KEVIN :Don’t know.
KELLY :I think, I think it, I think it’s the norm when, that you’re on your own.
KEVIN :Yeah.
KELLY :And – and you concentrate on that one – one voice.
Q : So how was it being solo rather than working with some people?
KEVIN :It’s great because it’s all about you. [Laughs] You know, because …
CRAIG :I think, I think it’s nice because you make the movie in your head …
KEVIN :Yeah.
CRAIG :… while you’re doing it. You can, you can work when you, you know, you close your eyes and – and see the film in your head and just participate in it. And what the interesting thing about this film is when – when I saw the film, after I had seen it in my head, it – it was better. Um, [Laughs], which – which means that Pixar, are – are better than me at making [Laughs], ah, animated films. But I – I think, I think that that’s not going to be news, you know.
Q : So we all know animation is a long process that takes many years and the story continually develops through that. How did your characters change as the story developed?
KELLY :Well I – I – I – I’m kind of the late comer to the – the movie. I, I mean, they started making this seven years ago and I’ve only been involved for the past sort of 18 months. So I think I, I think they pretty much had Merida down and knew what that, what was going on there. But I think you probably had more experience.
KEVIN :Um-hum. Yeah.
CRAIG :Well, ah, Kevin’s character, um, changed a lot, you’ve been on for a long time.
KEVIN :Yeah, I was, I was, I started I think four years ago and Young MacGuffin, I was only cast as Young MacGuffin to start with. And then at that time he was going to end up winning Merida’s hand in marriage. And then the story …
KELLY :I didn’t know that.
KEVIN :Yes, but …
CRAIG :But no one would’ve believed that. That’s what I’m saying. Once you got, once you got … See this is why we have to work as separately. [Laughs] Because … [Laughs]
KEVIN :Exact, and so, but, the shift, I think it was a good shift, you know …
KELLY :Right… because of the whole point, the whole message is that – that this protagonist is – is – is as you said, I’m going to find you one in my own sweet time, you know? And, um, so I was guided that poor Young MacGuffin didn’t get to win the hand of Merida. But, um, I think for the greater good of the, of the film and the, and the message it was a good thing. Um, and Lord MacGuffin was always kind of as he was based on a grumpy big proud old man, you know.
Q : This is for all three of you. I want you to think long and hard about this. If you could turn your mom into an animal, what animal would you choose to follow in their footsteps?
KEVIN :Wow. [Laughs] Okay.
KELLY :Careful now.
CRAIG :I – I – I would …
Q : Well you couldn’t actually turn her into it, but you could help see the ground work of it.
CRAIG :So you could sort of be involved in a conspiracy to turn your mother into a … [Laughs] I don’t, I don’t think, I – I don’t think I would ever have done that.
KELLY :No, uh-huh.
CRAIG :I wouldn’t, I wouldn’t have thought my relationship would have been improved by her having claws. [Laughs]
KELLY :I agree.
KEVIN :Yeah.
KELLY :Oh, I – I can’t even think of an animal that, I mean, she – she’s a homebody, my mom. I would, I would, I think I would turn her into a cat, because I think she would be very happy.
KEVIN :Aahh.
KELLY :In front of the fire.
KEVIN :I don’t know what I would turn my mom into. [Laughs] But it all feels like every answer’s going to be bad. Um …
KELLY :Insulting.
KEVIN :Ah, yeah. I mean, turn her into a beautiful hummingbird, so she could fly and be free, there you go, so, yeah.
KELLY :Awe.
CRAIG :Oh, yeah, that’s very nice, yeah.
KEVIN :My mom will like that. [Noise] [Laughs]
CRAIG :I’ll be alright, I’ll be alright, I’ll be alright. [Laughs]
KEVIN :I’ll give you my real answer later.
Q : Given the way that North American actors tend to mangle Scottish accents when they play Scottish parts, going back to, “I cannot do it captain,” do you all feel gratified that this is a cast of people mostly doing their own accents? And are your voices in the film close to your speaking voices?
CRAIG :I didn’t understand a word of that. [Laughs]
Q : I’m very sorry. Most …
CRAIG :No, no, no, no, no, no. [Laughs] I think it, I think it’s – it’s very, I think it’s just like a sign of the times. I think the world is different than it was maybe 20, 30 years ago, when, ah, regional accents were a very exotic and odd thing. But – but, you know, with – with, ah, the internet and with the YouTube and with, you know, with all the different, ah, communication systems that exist in the world, I think regional accents are, people’s ears are much more tuned to – to authenticity and accents now. And I think that’s part of the smart planning of – of this film. The, and also, if you’re going to make a film about Scotland, it’s probably a good idea to have Scottish people. [Laughs]
KELLY :But also, I, having, ah, I – I am Scottish, and I also read things that have said that I have a terrible Scottish accent. So – so …
CRAIG :Really?
KELLY :Yeah. What people don’t know, they don’t know, you know. It’s like, um, yeah, so.
KEVIN :Wow.
Q : I’m still hoping that by the end of this press conference we’ll all get kilts. My question is, you know, how Pixar is always famous for going to the place and research the place really well, like they did with UP, and they did the same thing here for BRAVE. Did you give your contribution to Chapman and Andrews about the looks and the vibe for the film? Like, oh we don’t do that in Scotland, or characters, or anything like that? Did you give any suggestions or any inputs to it?
KEVIN :Well, you know, the film was very well formed by the time I – I joined it. And the story was pretty much set and all that stuff. So they just, I think they just wanted us to really bring our voice, you know, you voices into, and to – to, they were very open to us in, you know, they said, this is the line of dialogue. And we’d say, yeah, we could say it that way, but it would be more natural, or a Scottish person would say it more like this. Or it could be funnier if you say it this way. So they were very open to us, you know, changing things and giving them different options. You know, as far as, the look of it, I think they had all that stuff sorted.
CRAIG :Yeah, they – they – they kind of know what they’re doing. I think it would be a bad idea to, as a voice actor, to run over to Pixar and tell them it doesn’t look very good. [Laughs] I – I don’t know, I don’t know how long you would be working there. [Laughs]
KEVIN :Yeah. [Laughs]
KELLY :Also I – I think the filmmakers have seen more of Scotland than I’ve seen it.
CRAIG :They’ve been around a lot.
KEVIN :Yeah.
KELLY :Yeah, they’ve seen a lot.
CRAIG : They’ve seen a lot of it, yeah.
Q : I think you may need to stand up so they can see you.
KELLY :Oh, hello.
KEVIN :Hello.
Q : This is for Kelly. What’s the best part about playing Princess Merida?
KELLY :The best part is that, um, I had so much fun. I got to play, um, I got to play this part that I would never get to play in a live action film. Because I’m not a teenager and, um, I got to be really cheeky and obnoxious to my mom, which was quite fun. Um …
KEVIN :Um-hum.
KELLY :Yeah, I – I, it was just, it was just the most fun I – I – I’ve ever had at work without having to wear a costume and get my hair done.
Q : This is for Kevin. How did you go about developing two distinct tonal influences for the two voices that you’re doing?
KEVIN :Yeah. Well, I started as Young MacGuffin and, um, it took us a while because they wanted the Young MacGuffin to be kind of that, you know, nobody could understand a word he says in the film because his Scot-, his accent’s so thick. And we started messing about with this sort of made up words and all that. And, um, and that didn’t seem to work, and I suggest this dialect which is from my area in Scotland called the Doric, which my grandfather spoke and it’s a very thick, almost Norwegian style, um, dialect, you know, that’s quite strange. And, um, so I did that and then we started going, well you’re going, and then they offered me Young, Lord MacGuffin, the older character, the dad. And I, we started doing sessions where I do both of at the same time and I ended up just sort of meeting somewhere in the middle, kind of neither, between a rock and a hard place. So we just had to kind of, we’d do it in the mornings with Lord MacGuffin because my, because I’ve just woken up and my voice was all … And then after lunch we would do Young MacGuffin was the – the thing we landed on. Um, and, you know, I just kind of like basically channeled my dad for Lord MacGuffin, because he’s grumpy and old and I’ve channeled myself, um, as a Young, because I was a very, very painfully shy, um, boy. Um, that’s why I became an actor. So I channeled that painfully shy, young boy that I was.
Q : Is there a network of Scottish people in Hollywood? Do you guys get together and read stories? [Laughs]
CRAIG :We can’t tell you that. [Laughs] Or we’d have to kill you. (inaudible). [Laughs].
Q : This is for all three of you. I know we’ve talked a lot about the voice work, I mean, you’ve captured the essence of these characters. My question is, during the voice work, did you know or have a feeling, and when was that, that this film was special?
KELLY :I think as soon as I was asked to – to go in and meet some people from Pixar, I mean, just the name Pixar, you know it’s going to be special. And so, I had no doubt in my mind that the finished product was going to be, ah, just really special and – and – and cutting edge, you know, that – that – that’s the great thing about Pixar, is like every movie that they bring out is like the most cutting edge technology. And, um, but you look back at the films, and TOY STORY was, ah, 15 years ago and you don’t, you don’t look back and think, oh, if they had the technology they have now it could be such a better film. It’s still, it stands up and it – it – it’s extraordinary, what they do is extraordinary and to think that comes from the, from the top John Lasseter is a very special man and – and just the, um, it’s just people that love their jobs and do their jobs very well.
Q : But it’s more than just the creative, I mean, it’s more than the creative, the voice work was phenomenal and was there a moment when you were in the booth that you knew, you had a special feeling, or you knew that this would turn out to be something great, all of you?
CRAIG :I don’t know, I don’t know how productive it would be to – to have that special feeling while you’re doing the work. You know, I think that it would be counterproductive. I – I think it’s better to – to do, ah, particularly in – in an environment where so much of what, of what the performance is, is not you, you know, you do the voice and you have that. But there are so many things that are outside of your control. So trust is involved. When – when you see the name, when you, when the name Pixar is on the offer, what it is, it’s not really an offer, it’s more of summons.
KELLY :Yeah, um-hum, yeah.
KEVIN :Um-hum, yeah, yeah.
CRAIG :It’s like Pixar requires your presence in this film.
KEVIN :Yeah.
CRAIG :And you go or you’re a fool, you know.
KELLY :Yeah.
CRAIG :And so that’s kind of like what happens, is that, they’ve earned that right by the – the, they’re, by – by what they’ve done. And so, what I, what I think the special feeling, if you have any special feeling, ah, but it’s not a, you know, any kind of judgment on your own performance, but other than – than – than realizing what these people have done, trusting that they will be able to do it again, and letting them. And that’s really what it is, it’s really trust if there’s any emotion involved.
KEVIN :Um-hum. Yeah, no …
Q : I’d like to ask Craig, could you contrast this experience on BRAVE with doing Gobbler in HOW TO TRAIN YOUR DRAGON?
CRAIG :I – I could …
Q : Are they very different or the same?
CRAIG :Well, um, it’s a different person, ah, ah, it’s a different person, so – so – so that’s different, but the technique of doing it is – is much the same. Ah, the – the – the, ah, you know, it’s not the biggest stretch in the world to go from one Scottish speaking character to another Scottish speaking character. But – but that’s – that’s kind of, ah, I assume that’s why they asked me to do it, you know. But, um, the contrast if any, I think was the, ah, the personality of the character involved.
CRAIG :It was a different personality. That’s really what it is.
Q : A lot of fun on both then?
CRAIG :Oh, lots of fun. I – I was always kind of interested in the accent work when I did the – the character before the Viking character with the Scottish accent that, many of you people over here said, how come the Viking sounds Scottish? And no one said, how come the Young Viking sounds American? No one asked me that? [Laughs]
KEVIN :Yeah.
Q : Kevin, sorry, I need to go here, but Grey’s has such a disastrous ending with losing little Grey and all that. Can you talk a little bit about the deaths in the cast? And since your one of the few characters who knows he has his job, you weren’t on the plane and you didn’t finish your Residency, what do you hope for the next season?
KEVIN :Well, you know, it’s – it’s, it was a really dramatic finale. I mean, they’re – they’re brilliant writers on that show, you know, they really know how to grab people and keep them especially in their finales and their season premieres. You know, they, you know, they’re killing people off, having planes crash, I amazed that, you know, a plane crashing into a mountain side and only that many people died, you know, it’s like. Um, but they really do a great job and it was, it was sad to see Chyler Leigh go, you know, um, very sad. And it, we don’t know, I mean, I don’t know what’s going to happen next.
KEVIN :I mean, they – they keep their scripts very close to their chest, we start back shooting through, in three weeks, four weeks’ time. So, I could tell you more then, but, I mean, I know as far as what the premiere’s going to be, it’s going to be pretty intense, you know? Um, I mean, it’s going to, it’s a real game changer, you know, doing something like that to a show, killing people and making people go through a trauma like that, it’s a game changer. So, it be, it’ll be fun to see where we all go there, you know.
Q : Hi there. To expand a little bit on what you were talking about, Craig and also for the both of you. In addition to these two characters, you brought Al to back to live in such a wonderful way. Are you finding animated characters to be any more complex, layered, more interesting to you than real life characters? And for you guys like of the same way. I guess you’ve done more animated than the other two right?
KELLY :I’ve done, nothing. This is my first. Yeah.
CRAIG :I think that, I – I think that it – it – it’s good for me because I’m not a very good actor. So what I do is … [Laughs] I – I don’t get in my own way. I, what I’ll do is, I’ll do the voice. I’m pretty good at voices and then people who are good at acting can draw in good acting. So – so I – I do the voice and then they draw in good acting. Because I may, I – I think I get in my way, I think I would get in my way with a lot of that. Plus, I have a day job and so I can’t go and make a film. I can go to the Valley and for a couple of hours and work on one, but I can’t, I can’t go away and make a film, I can’t go on location, I can’t, I can’t do any of that.
CRAIG :Not that anyone is asking me, but I, but even – even [Laughs]. Beware, you know, I – I – I’m not, I’m not available, so don’t even bother. You know, so, but that – that’s what I think is. Also, the thing that is about it, that – that I like about it, is that you’re not limited, and – and Kelly said this, you’re not limited by who you are physically.
KEVIN :Um-hum.
CRAIG :You know, you can play anybody and anything. So – so the world that, the worlds and the, and the – the opportunities that are available to you as an actor, are – are expanded by just working only with your voice. Not, they’re not lessened, it – it – it’s, there’s, you can do anything and be anywhere. And we have a tradition where we are from, I don’t know if you did much, but – but certainly Kevin and – and I did radio work.
KEVIN :Um-hum.
CRAIG :In Scotland and you, and you do that when you start out, or you certainly you used to, and doing radio drama, radio comedy it – it’s kind of, it’s very similar to what we do here I think.
Q : I wanted to ask, I believe the theme of the movie is taking control of your destiny or whatever. Is it something in your life that was kind of out of control for a bit that you took control over?
KELLY :Are you asking that to Kevin? I think she’s asking you that.
KEVIN :Ah, yeah, I mean, I guess, I was from a wee town in the northeast of Scotland and, you know, and there was nobody up there that, I think I was about eight or nine when I suddenly wanted to do this crazy acting thing. And I had no clue how to ever pursue that up there, you know, there was no theater, you know, national theater in Scotland or anything up there, you know, there’s sheep, and, ah, fields …
CRAIG :And they’re a very tough crowd. [Laughs]
KEVIN :Exactly. And so, yeah, it was like, you know, I kind of just had to really take matters into my own hands and sort of really doggedly pursue this thing, which I tried to eventually – managed to get to be lucky enough to get to do. So, yeah, I mean, I think the message is a very powerful one for young people. Um, because I really took, you know, it’s like this – this kids who’s on one path, you know, I was going to be a plumber like my dad essentially and I manage, and I kind of changed that. Now there’s probably good sides and bad sides to me changing my own fate, you know.
CRAIG :Very difficult to get a good plumber in Los Angeles.
KEVIN : [Laughs] Exactly. So, you know, there, I think that’s another subtle message in the film that, do you really want to change your fate or not, you know, there’s always a payoff, you know.
Q : I want to know how you prepared yourself to do such wild character? And what is the wildest thing that you have done in your life?
KELLY :Oh, dear.
KEVIN :The wildest thing? [Laughs]
CRAIG :You have no idea, who you just asked. [Laughs] I – I can’t tell you even now, the wildest things that I’ve done in my life. But I, ah, I – I think that, ah, I think the preparation is done for you in a way that, in a sense that, I think that – that, movies are good if they’re cast well. Certainly, and what I think they have done, is they may have cast people who are likely in these roles. So, it’s not a huge leap for me to – to be this character in this film. I don’t think it’s an enormous leap for either the, of my two colleagues here to do the same thing. It’s about, it’s about you cast the right actor for the role and that, I think that’s – that’s 90 percent of the preparation right there. I get, you trust that they’ve done that. And you bring to whatever you have to it.
KEVIN :Yeah.
Q : Yeah. Kelly, did it make a difference in your performance to be aware of this character Merida, to have this curly hair, red hair?
KELLY :No, I – I mean, I, like I said, I – I – I became involved about a year and a half ago. So they had, you know, they knew what Merida was going to look like and – and, but I didn’t, you know, when I went in for my recording sessions, there wasn’t photos of … You know, I keep saying photos, like she’s a real person. Drawings of her, um, up in the sound studio or, you know, I didn’t think about it too much. It was very like, ah, Craig said, it was kind of you, I kind of forgot about that and just got on with the job in hand. And – and then and I, you know, I had it all in my head. And luckily, we had, ah, Mark Andrews at the helm, who’s the most energize – energetic kind of, ah, amazing presence. And he would bring it, would bring it to life and that really helped me actually. Um, but I didn’t think about the hair, I didn’t think about any of that stuff, um, for no particular reason. So when I saw the finished product, I was completely, it was, it was almost like a total surprise, you know.
Q : I actually had wanted to ask a accent question, but I don’t know if we’ve covered that ground way too much. So let me throw to another one. You didn’t get to work with him because of the nature of the making these, but I think that everyone that we’ve ever had a chance to interview, who’s related to Scotland, has stories about Billy Connolly and being impacted by him, probably over the last 25 years he’s had such influence. Can you talk a bit about that in the sense of even though you didn’t get to actually work with him directly, being in a film with him and what his humor has meant to you?
KEVIN :Wow, I mean, you know, I remember a few years ago, I think it was about 15, maybe 20 years ago, he did a tour of the north, of – of all the little villages halls and the whole Scotland. He went around and did all the kind of Town Halls of Scotland. And he came to my town Elgin and because I was this theater, oh, so sort of theater rat, you know, um, in Elgin. I got to do a follow spot for two nights in Elgin Town Hall.
KELLY :Oh, wow.
KEVIN :And I couldn’t keep the follow spot still because I was laughing so hard and the follow spot was going like that. And he started making jokes about me, you know, he was like, you up there, (inaudible) or stay still with the follow spot. He’s been, I mean, I, he’s like the god of, you know, the granddaddy of Scottish comedy and he’s been unbelievable and, you know, it’s, I’ve – I – I still haven’t properly met him. I’ve done his follow spot, but I still haven’t properly met him. [Laughs]
CRAIG :Billy would, Billy is, ah, ah, Elvis to me. Billy’s Jackie Robinson as far as I’m concerned. Billy changed the game. You know, when I was a kid, when I was at school, Billy released an album, a comedy album called Solo Concert. And now, if you listen to young black comedians talk about Richard Pryor, that’s who Billy is to me. You know, that – that just, I had never seen anyone do anything who sounded like me, who came from the same socioeconomic group as me and did that. I’d never seen that before.
CRAIG :I had seen English actors pretend to be Scottish. I had seen characters of Scottish people, but I had never seen anything like that. So – so Billy to me is like, you know, it’s something, I think John Lennon said before Elvis there was nothing, I think it was John Lennon that said that. And that’s kind of how I feel about Billy. Before Billy there was nothing, you know, I – I, it was, it was a – a different thing, it was, it was a different game. So in one sense he is, ah, um, ah, found of Billy, god. [Laughs]
KELLY :No, for me, I hurled myself at Billy Connolly when I first, I, he was in, he was doing a session when I first went in to read for the part, ah, Billy had just been doing a session before me. And, before – before I even knew what happened, I was like around his neck like a monkey. And I thought, what am I doing? [Laughs]. So, yeah, I, it’s not just a male thing.
KEVIN :Is he coming tonight?
KELLY :No, I don’t think so.
CRAIG :Don’t think so, I think he’s in Australia.
KELLY :We’re sort of past the halfway point, so (inaudible). She’s still alive, she’s alive, she’s alive.
Opens on June 22, 2012, in Disney Digital 3D™ in select theaters. “Brave” is rated PG by the MPAA.
