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 Amazingly, the scene only took three and a half takes to complete. According to McAvoy, the first two takes “sucked” and the fourth one was aborted halfway through because the Steadicam operator collapsed of exhaustion. Take three was the charm. “In this part of the collaborative experience we had 1,800 people involved and any one of them could have screwed it up and the fact that we did one take where nobody screwed it up is a miracle,” he says. Some scenes may have been stylistically challenging, but McAvoy admires the risks his director took and in turn felt comfortable taking some risks on his own. “Joe made me feel safe; he made me feel like I could play with the style of the piece,” he says. “We weren’t just behaving like the people of 1935, we were going some way towards trying to act like the actors of 1935 and that isn’t necessarily a realistic way of behaving. So it was a little bit daring and it could be seen as complete cliché, the type of acting we employed, but we went for it with complete passion and a willingness not to be overly sentimental. We’ve got a romantic tragedy here and we didn’t want to sentimentalize it too much, which is a hard thing to do when you’ve got a romantic tragedy.” Speaking of romance, McAvoy and Knightley share some steamy love scenes in the film. McAvoy has nothing but respect for his co-star. “She gave a very sophisticated performance in this film and one that we’re not used to seeing from big movie stars,” he says. “I think the fact that we could have a good laugh with each other more than anything gave us chemistry and that’s something that people seem to be going on about. A lot of it’s chemistry.” His close relationship with his director and co-stars was solidified during three weeks of rehearsals before filming. It’s a process Wright insisted on, and one that McAvoy is deeply grateful for. “Joe comes from a theater background and he was brought up in a public theater and I think he really understands what the rehearsal process really has to offer,” he says. “It was valuable in this case. By the end of the rehearsal process we were galvanized and we were one unit and we felt the same way about the script; we believed in the script.” The script (adapted from Ian McEwan’s novel by Christopher Hampton) was so good in fact, that hardly any improvising was used. “Very little, but I ... |
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