Oscar Wilde is such a complicated character in history. That’s really how I think I got my film to the standard that it is, in terms of the look of it, and the depth of the detail. And I had these three castles in Franconia, which is the southernmost tip of Bavaria, and we shot the whole film in three castles. So by the time we filmed, I had everything in my mind, ready. It took ten years to get together, and I spent all the times when it wasn’t working out well and I had nothing to do, doing my own research, and finding places to shoot. The challenge of creating Neapolitan and Parisian interiors in Munich was one of the things I really loved about my film. Because of the financing, I had to make fifty percent of it in Germany, and none of the story happened there. I find that whole side of things the most fascinating and wonderful and challenging because, on a film like mine, I didn’t have the money to make it all in the studio. After all, costume is the first thing anyone sees. I wanted my film to have that texture and density of design and costume. I was very keen for my film to have a texture and design worthy of someone like Danilo Donati, or the other great Italian designers I had the luck to work with, like costume designer Piero Tosi. I love the production design and art direction of Richard Macdonald. For example, if you look Chinatown, it has such great production design, as does The Day of the Locust. The films of the fifties, by Nicholas Ray, especially with James Dean, all those were very organized looking, the ones I was brought up on, and the Hollywood movies of the 30s, and movies both from the UK and Hollywood of the 70s. I also loved my education in the movies as a viewer. What experiences and aspects of filmmaking inspired or excited you, beyond the feeling that it was necessary to the film getting made, in directing your first feature?ĭesign and costume have always been two of my fascinations in the movies and having started out with my first two movies being quite design-oriented, I found I loved that about them.
We spoke to Everett about what inspired him as a first-time director, and he offered his perspective on the man he calls the “patron saint of the LGBTQ community”. The film Everett wrote, directed, and stars in is an unvarnished look at Wilde’s last few years, following his decline after release from a two-year imprisonment for homosexuality.
OSCAR WILDE FILMS FREE
Subscribe to IFTN's industry newsletter - it's free and e-mailed directly to your inbox every week.Fans of both Rupert Everett and literary great Oscar Wilde have been patiently waiting for the release of the new film The Happy Prince, which has been 10 years in the making. The films received their London premiere on Saturday night last where the films were screened to an audience of 2000 adults and children at the Barbican Theatre accompanied by a live performance of the music by the National Symphony Orchestra conducted by Debbie Wiseman. The Trilogy which was produced by TerraGlyph in Ireland and Lupus Films from the UK with the support of the Irish Film Board features 3 of Oscar Wilde’s best known children’s stories, the Nightingale and the Rose, the Devoted Friend and the Selfish Giant.Īnimated in 3 different styles, the films feature the voices of Pete Postlethwaite, Brendan Gleeson, Fiona Allen and Eamon Morrissey and a music score by Debbie Wiseman adapted from her Grammy nominated CD. Channel 4 Television have announced that the Oscar Wilde Trilogy will be broadcast in the afternoon on St.
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