There's so much of, it could have been a very critical examination of what happened, and really the emotional lives of the people involved sort of carry the characters forward.
From Jeremy Northam
I don't have the energy or the mental security to get involved with all that. I think it's a good idea to be able to disappear into the story, so that the first thing the audience sees isn't you, but the part.
He has such a patronizing tone and manner, and such a sarcastic sense of humor. I found him rather brutal, a kind of elegant brutality which appealed. No, I think he came pretty much off the page.
I think one probably absorbs things like a sponge and things emerge without your always being aware of it.
The space and light up there in Norfolk is wonderfully peaceful. I find myself doing funny things like gardening, and cooking, which I rarely do in London.
My dad served in the Air Force as ground crew for several years, and doesn't really talk about it. I know that it's there. I think my main thing about direct or indirect experiences as near to home as it were is the idea of self-sacrifice really.
I was born in 1961. Now I think the 16 years that elapsed between 1961 and the end of the wars is nothing. To a child growing up it felt like an eternity, an entirely different world.
Surely the job of fiction is to actually tell the truth. It's a paradox that's at the heart of any kind of storytelling.
All the great novels, all the great films, all the great dramas are fictions that actually tell us the truth about us or about human nature or about human situations without being tied into the minutia of documentary events. Otherwise we might as well just make documentaries.
I would have loved to have met some former spies, but they don't readily advertise themselves unless they're not living in Moscow, and even then. I'm sure I've met some without realizing it.
3 perspectives
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1 perspectives