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I understand that Living began over a drink shared between you, Kazuo Ishiguro and Stephen Woolley.
As you said, I met Ishiguro outside with Stephen Woolley. They were old friends and are movie geeks. They spent that evening challenging each other to know nerd facts, about movies in general, but often about British movies, black-and-white British movies from about 1930 to about 1960. But at the end of the evening, Ishiguro and his wife, after as they were whispering, he came out and said, “We know what your next movie should be.” And I said, “Well, when you’re ready, let me know.” And then, later, Steven called me and said, “That’s the plan.”
They both thought you would be perfect for the lead role in the Ikiru remake, but how did you feel about that assessment? I felt that one of the reasons I personally responded to Living was that I grew up in England with grandparents who always thought discussing their failing health or personal problems was “a bit boring”, as you say in the movie. Williams embodies a very British kind of stoicism.
When I talk about the character, most of my discussions were with Oliver Hermanus, who directed the film so brilliantly. He is South African and I don’t know if that is informed [his attitude toward] Williams. I can’t guarantee this, but I think it will probably help. We had many discussions. And it was very interesting for me to talk to someone from another culture about, as you say, [that characteristic of] your grandparents or my father. My father was a very reserved person who tried never to make too much noise or fuss. And when he was dying, he tried to die with as much dignity and as little trouble as possible. So this is no stranger to me. And I kind of admire him. I know—probably now in psychiatric circles—they’d say that’s a disastrous way to live your life. But, on the other hand, you can’t help but think sometimes, “Wow. It’s something that needs to be done.
Williams has a lot to admire, though I missed him too. The complexity of this character is what made Ikiru so rich, and I have to imagine it was rewarding to embark on Ishiguro’s translation of this story. One dialogue in particular, between Williams and Margaret, takes place in a pub. This is an extremely affecting scene. What are your memories of the shoot?
Well, we’ve been working on it quite a bit. I wanted to emphasize his grief over the loss of his wife and the length of his widowhood. I thought that was important in his relationship with Margaret. I worked very, very hard. I prepared thoroughly and by the time we got there I could do it 25 different ways in my sleep.
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