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In The King's Speech, patriotism is utterly contained within a historical moment, the third of September, 1939, where the aggressor is clear, the fight is clear, it hasn't become complicated over time.

Tom Hooper

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Tom Hooper
Age: 52
Born: 1972
Born: October 5
Film Director
Film Producer
Screenwriter
Television Director
London
England
Become
Kings
September
Time
Speech
Patriotism
Fight
Hasn
Within
Third
Clear
Thirds
Aggressor
Fighting
King
Aggressors
Moment
Historical
Contained
Moments
Complicated
Utterly

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I would say L.A. is more polite than London - it's a very careful place. People talk a lot in code.
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Films about the English monarchy, they tend to have a lavishness, sumptuous imagery, it's all very posh and rich.
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I think we all have blocks between us and the best version of ourselves, whether it's shyness, insecurity, anxiety, whether it's a physical block, and the story of a person overcoming that block to their best self. It's truly inspiring because I think all of us are engaged in that every day.
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Well, I'm half Australian, half English and I live in London. That is the only reason I came upon this story. My Australian mother, Meredith Hooper, was invited in late 2007 by some Australian friends to make up a token Australian audience in a tiny fringe theater play reading of an unproduced, unrehearsed play called 'The King's Speech.
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American cinema tends to express a patriotic relationship to national identity on a regular basis.
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I have a yearning someday to do one of these huge juggernauts.
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I mean, we've all had those dreams where, you know, we try to cry out and our voice won't come.
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Trans stories have now entered the mainstream in this fantastic way, but the most important thing is what follows from that is hopefully a shift in the experience of trans people - so that there's more acceptance in the culture to the issues they face and more support.
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I began to think that if you're a stutterer, it's about inhabiting silence, emptiness, and nothingness.
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American movies are often very good at mining those great underlying myths that make films robustly travel across class, age, gender, culture.
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I feel connected to the Second World War because my father lost his father in that war. So, through my dad and the effect it had on him of losing his father young, I always felt connected to the war. It goes back years, but it still feels to me as if we're completely living in it.
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Sometimes your body language is enough for an actor to know that you're not happy. And you don't really need to say it out loud if you deal with actors you know very well. And I don't think you really need to be explicit.
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Some of my most special shooting experiences have been at weekends.
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With the coming of radio as a mass medium, suddenly the world changed. It became about, 'Can this leader project emotional connection through the way he speaks on the radio?' And the anxiety about whether he could do that, we've inherited.
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I think directors can become overly infatuated by gilt and gold, and the word lavish and everything being magnificent.
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I think the thumb print on the throat of many people is childhood trauma that goes unprocessed and unrecognized.
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I think people enjoy finding out something genuinely new.
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If you look at Shakespeare's history plays, what the setting of monarchy allows is this extraordinary intensification of emotions and predicament.
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After my grandfather's plane took enemy fire, he was denied permission to land at the first available airstrip. In that classic British bureaucratic way, they said he had to go back to your own airbase in the Midlands. They crashed between the coast and the airfield.
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I think I would say 'The King's Speech' is surprisingly funny, in fact the audiences in London, Toronto, LA, New York commented there's more laughter in this film than in most comedies, while it is also a moving tear-jerker with an uplifting ending.
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