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103
of money that their programmes or
films are going to make, there's
more and more interference from
on high in the film-maker's role.
You don't now go to a script meet-
ing just with a writer, there tend to
be two or three executive produc-
ers there and everybody's got to put
in their two pennyworth, and so it
can become a case of too many
cooks spoiling the broth, and you
know and just annoying way that a
television company works in that
the chief executive is looking
things like films have to be cut
down to a certain length sometimes
just to fit certain kind of – espe-
cially on TV – certain time-slots
which may not be the actual right
length for that film, so you know
there is a fair amount of compro-
mise involved. But those are the
areas I dislike.
I And I know that you've made films
in the United States as well as in
Britain. What would you say are
the main differences, in your ex-
perience, between making films in
America and making films in Brit-
ain?
TF Well I think it's really to amplify
the point that I just made. I mean
England is becoming more like
America in that respect, but in
America, well certainly my experi-
ence of filming there was the
power of the studio which was
making the film, they had an enor-
mous amount of rower, and even
though as a director you have quite
a lot of freedom, in that case you
just felt these people kind of
breathing down your neck. And
they were incredibly involved in
the casting process and the editing
process, and they kept changing
their minds as to exactly what kind
of film they were looking for, so
one felt a bit, you know, inhibited.
One's hands were tied by them.
And although in England theoreti-
cally it's a lot freer than that, one
has a lot more freedom, but I think
it's going the way of America more
– without the same amount of
money being involved obviously.
So one of the benefits of working
in America is you get paid better,
but you get a lot more interference
and hassle. It's not really … cer-
tainly Hollywood is not … it
sounds like the paradise … how
many dollars a film is going to
make.
I What do you think of this scene
from Cuts by Malcolm Bradbury?
TF I think, I mean it's slightly old-
fashioned in its tone – I can see it's
written in 1987 – but I would say
the gist of it is true, in the sense …
I mean obviously it's a kind of sat-
ire on the way that a television
company works in that the chief
executive is looking for scapegoats
amongst his staff as to why this
particular project is not working
the way he thought he would. Also
I think what is true about it is the
sense of people changing their
minds almost overnight: what's
commercial yesterday suddenly is-
n't commercial today, so they want
104
a completely different idea, and
what's commercial today may not
be commercial tomorrow. It's a sat-
ire on what I was talking about be-
fore, the idea of really you know
what counts in this case is pulling
in the viewing figures, and so
they're desperately searching
around for something that they
think will work. Whether it's actu-
ally truthful or good or dramatic or
not is irrelevant.
I And what about Bridget Jones's
Diary?
TF Well, that's a very amusing piece. I
mean I know less about that be-
cause it's talking a documentary re-
porter and that's not an area that I've
ever worked in, but I think the … it
conveys the kind of feeling of
nerves and pressure of somebody
new starting a job like that and are
they going to make a go of it or live
television, but as I say it's not the
kind of work that I do, the films that
I make, it's in a different area. Every
area of TV is very separate, I think:
drama, news, comedy, documenta-
ries, they're all very separate kind of
worlds. But as far as I can tell it's
accurate as a satire on the world of
news reporters.
I Are directors … Are most directors
that you know tyrants in the way
that they are portrayed here as
well?
TF I think you've got to be a little bit
of a tyrant, but I mean hopefully
one can be a sort of … pleasant ty-
rant.
TAPESCRIPT 3
The 50 most influential actors of the
previous century.
The top twenty five actors and
twenty five actresses are to be chosen
from a short list of four hundred
names.
Over a thousand film-makers, aca-
demics, historians and celebrities will
be asked by the American Film Insti-
tute to vote on the nominees. The cri-
teria for the final selection includes
star quality, presence off screen and on
screen, popularity, and their impor-
tance in the political and world events
of their time. The American Film In-
stitute Chairman, Tom Polka says,
"This is more than a beauty contest".
The American Film Institute has
set 1950 as the cut-off date. The Insti-
tute admits that this date is arbitrary.
As Tom Polka explains: "If you take
1980 or 1970 or 1960, you're dealing
with people today. Perhaps we don't
have a sense of perspective about their
careers … You need time". So surpris-
ingly, the major stars of today such as
Leonardo DiCaprio and Sandra Bul-
lock are not included in the short list.
Last year the Film Institute issued
its list of 100 top films of the century.
Top of the list were the classic films
Jane Eyre, Casablanca and The God-
father. Many disagreed with the
choice. Newspapers and magazines
chose their own favourite films. Tom
Polka explains: "For one week, Amer-
ica's newspapers and TV stations and
people were arguing, not about which
films were the highest grossing, but
about what was on that list and 'How
of money that their programmes or just felt these people kind of a completely different idea, and TAPESCRIPT 3
films are going to make, there's breathing down your neck. And what's commercial today may not The 50 most influential actors of the
more and more interference from they were incredibly involved in be commercial tomorrow. It's a sat- previous century.
on high in the film-maker's role. the casting process and the editing ire on what I was talking about be- The top twenty five actors and
You don't now go to a script meet- process, and they kept changing fore, the idea of really you know twenty five actresses are to be chosen
ing just with a writer, there tend to their minds as to exactly what kind what counts in this case is pulling from a short list of four hundred
be two or three executive produc- of film they were looking for, so in the viewing figures, and so names.
ers there and everybody's got to put one felt a bit, you know, inhibited. they're desperately searching Over a thousand film-makers, aca-
in their two pennyworth, and so it One's hands were tied by them. around for something that they demics, historians and celebrities will
can become a case of too many And although in England theoreti- think will work. Whether it's actu- be asked by the American Film Insti-
cooks spoiling the broth, and you cally it's a lot freer than that, one ally truthful or good or dramatic or tute to vote on the nominees. The cri-
know and just annoying way that a has a lot more freedom, but I think not is irrelevant. teria for the final selection includes
television company works in that it's going the way of America more I And what about Bridget Jones's star quality, presence off screen and on
the chief executive is looking – without the same amount of Diary? screen, popularity, and their impor-
things like films have to be cut money being involved obviously. TF Well, that's a very amusing piece. I tance in the political and world events
down to a certain length sometimes So one of the benefits of working mean I know less about that be- of their time. The American Film In-
just to fit certain kind of – espe- in America is you get paid better, cause it's talking a documentary re- stitute Chairman, Tom Polka says,
cially on TV – certain time-slots but you get a lot more interference porter and that's not an area that I've "This is more than a beauty contest".
which may not be the actual right and hassle. It's not really … cer- ever worked in, but I think the … it The American Film Institute has
length for that film, so you know tainly Hollywood is not … it conveys the kind of feeling of set 1950 as the cut-off date. The Insti-
there is a fair amount of compro- sounds like the paradise … how nerves and pressure of somebody tute admits that this date is arbitrary.
mise involved. But those are the many dollars a film is going to new starting a job like that and are As Tom Polka explains: "If you take
areas I dislike. make. they going to make a go of it or live 1980 or 1970 or 1960, you're dealing
I And I know that you've made films I What do you think of this scene television, but as I say it's not the with people today. Perhaps we don't
in the United States as well as in from Cuts by Malcolm Bradbury? kind of work that I do, the films that have a sense of perspective about their
Britain. What would you say are TF I think, I mean it's slightly old- I make, it's in a different area. Every careers … You need time". So surpris-
the main differences, in your ex- fashioned in its tone – I can see it's area of TV is very separate, I think: ingly, the major stars of today such as
perience, between making films in written in 1987 – but I would say drama, news, comedy, documenta- Leonardo DiCaprio and Sandra Bul-
America and making films in Brit- the gist of it is true, in the sense … ries, they're all very separate kind of lock are not included in the short list.
ain? I mean obviously it's a kind of sat- worlds. But as far as I can tell it's Last year the Film Institute issued
TF Well I think it's really to amplify ire on the way that a television accurate as a satire on the world of its list of 100 top films of the century.
the point that I just made. I mean company works in that the chief news reporters. Top of the list were the classic films
England is becoming more like executive is looking for scapegoats I Are directors … Are most directors Jane Eyre, Casablanca and The God-
America in that respect, but in amongst his staff as to why this that you know tyrants in the way father. Many disagreed with the
America, well certainly my experi- particular project is not working that they are portrayed here as choice. Newspapers and magazines
ence of filming there was the the way he thought he would. Also well? chose their own favourite films. Tom
power of the studio which was I think what is true about it is the TF I think you've got to be a little bit Polka explains: "For one week, Amer-
making the film, they had an enor- sense of people changing their of a tyrant, but I mean hopefully ica's newspapers and TV stations and
mous amount of rower, and even minds almost overnight: what's one can be a sort of … pleasant ty- people were arguing, not about which
though as a director you have quite commercial yesterday suddenly is- rant. films were the highest grossing, but
a lot of freedom, in that case you n't commercial today, so they want about what was on that list and 'How
103 104
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