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Films about the English monarchy, they tend to have a lavishness, sumptuous imagery, it's all very posh and rich.

Tom Hooper

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Tom Hooper
Age: 52
Born: 1972
Born: October 5
Film Director
Film Producer
Screenwriter
Television Director
London
England
Film
Sumptuous
Posh
Monarchy
Imagery
English
Tend
Films
Rich

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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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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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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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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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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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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.
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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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I think the thumb print on the throat of many people is childhood trauma that goes unprocessed and unrecognized.
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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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Some of my most special shooting experiences have been at weekends.
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I think English film is very embarrassed by patriotism, generally.
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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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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 have a yearning someday to do one of these huge juggernauts.
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American cinema tends to express a patriotic relationship to national identity on a regular basis.
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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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I began to think that if you're a stutterer, it's about inhabiting silence, emptiness, and nothingness.
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I'm the son of highly functioning parents who I'm incredibly lucky to have.
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