The director produced both Snatch and Lock Stock and Two Smoking Barrels with Ritchie, and hopes they can reunite for a low-budget follow up. Report by Nelsonj. Like us on Facebook at http://www.facebook.com/itn and follow us on Twitter at http://twitter.com/itn
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00:00 Every film you make seems to be made with a kind of a twinkle.
00:03 A bit of mischief we call it.
00:05 Yeah, a bit of mischief. Like a smile on your face.
00:07 Yes. Look, we make movies. You know, you have to enjoy film.
00:12 If you're making a movie and you're not enjoying it, you're in the wrong job.
00:15 But with this one, it was actually harder because we had to make it with masks.
00:19 That's tough, right?
00:20 You can't communicate.
00:22 I mean, you must have had it when you guys were doing news interviews
00:25 and someone's wearing a mask.
00:26 You're like, "What? Hello? What are they really feeling?"
00:29 So that was tough, but we wanted to make it...
00:31 Look, the world, ITN knows this. It's a bleak world. It's dark right now.
00:35 So I wanted to make a movie with a ray of sunshine in the dark, dark times.
00:38 And people will go there and they will escape for two hours.
00:42 And I dare you not to smile by the end.
00:44 Speaking of a ray of sunshine,
00:46 a lot of moviemaking is about choosing the right cast.
00:49 Yes, a lot. That is filmmaking.
00:52 A film of the wrong cast or a bad actor cannot be good.
00:56 It's as simple as that.
00:58 You can shoot it well, you can write it well, you can do great music,
01:01 but if the guy or the girl in front of the lens can't act, you're dead.
01:05 John Huston said it.
01:06 Directing is 90% casting.
01:08 I'd say it's 98%.
01:09 Super. Well, the cast you did amass have certainly done you justice in this.
01:15 And also, you've got actors who all feel like they have that kind of
01:18 indefinable warmth to them.
01:20 Even Henry, who we've seen as kind of this action character over the years,
01:25 you seem to have unlocked that twinkle, that kind of smile,
01:28 that mischief almost underneath.
01:31 Is that something that's...
01:31 Give him a flat top. You've got to go with it.
01:33 Once you give someone a flat top.
01:35 Was that just a knack you have as a director?
01:37 Or do you have to ask around and try and get to know these people beforehand
01:41 before you know?
01:41 It's instinctive.
01:42 I meet a person and you just know it.
01:44 You feel it.
01:44 You know, you meet someone, you go,
01:45 "You're a... I can't think of the right word for ITN,
01:49 but you're a bleep bleep."
01:51 Yeah.
01:51 Or you're a great person.
01:52 And it's an instinctive that you know.
01:54 Or I'm a big fan of their work and, you know, like this cast.
01:58 I mean, look at them.
01:58 There's not one of them I wouldn't have paid to work with.
02:01 I did pay them, actually.
02:02 You, uh... Well, you did.
02:04 I did. I think you are.
02:05 I won't ask how much.
02:05 Yeah.
02:06 You passed Henry off to Guy, didn't you, after this film?
02:09 We seemed to pass him off to each other.
02:10 You know, he did Man From Uncle, if you remember.
02:12 Of course.
02:12 And I did Stardust.
02:13 So he did Stardust, Man From Uncle, back to here, then back to Guy.
02:16 Guy and I like to share a lot of things.
02:18 Do you think you guys will ever get back together for, you know,
02:21 another snatch, another lot of snatch?
02:22 I said it'd be fantastic to do a sequel to Lock, Stock,
02:25 and do a documentary of us having to make a low-budget movie again with the same cast.
02:30 So it would be a tragedy if Guy and I don't ever work together again.
02:35 I think we will.
02:36 It just has to be the right thing.