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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.

Tom Hooper

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Tom Hooper
Age: 52
Born: 1972
Born: October 5
Film Director
Film Producer
Screenwriter
Television Director
London
England
Setting
Intensification
Emotions
Predicament
Extraordinary
Predicaments
Emotion
Monarchy
History
Shakespeare
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Settings
Play
Allows
Looks
Plays

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I'm the son of highly functioning parents who I'm incredibly lucky to have.
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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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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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I have a yearning someday to do one of these huge juggernauts.
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The thing that fascinates me is that the way I came to film and television is extinct. Then there were gatekeepers, it was prohibitively expensive to make a film, to be a director you had to be an entrepreneur to raise money.
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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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Actors are programmed to see the worst. If you're talking about an actor's TV series, you say, I loved you last night. And they go, What about the week before? They immediately worry.
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A British villain never loses their sense of humour.
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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 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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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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Films about the English monarchy, they tend to have a lavishness, sumptuous imagery, it's all very posh and rich.
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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 think the thumb print on the throat of many people is childhood trauma that goes unprocessed and unrecognized.
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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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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 English film is very embarrassed by patriotism, generally.
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I think people enjoy finding out something genuinely new.
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The irony of a director going to film festivals is you never get to see any of the films.
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