It was Anthony Hopkins playing King Lear. WATSON: I did King Lear for the BBC, which was an amazing experience. But generally, it was a good experience, all around.ĭo you have any idea what you’re going to do next? And when it was impossibly boiling hot on the tiny set, with lots of adverse conditions, that was quite challenging. WATSON: Some of the really emotional stuff with Beth, was challenging, just to have the presence of mind and the experience to protect myself and stay in it. Were any of the days particularly challenging? They’re committed to their craft, which is really nice to see. They were a really committed bunch of young women. We really shared, so it felt like a bonding thing that we then brought to the set when we started to work on it, which was very nice. We just talked about what it was like to be teenagers, and grow up and work with our parents. We can share things in here.” She said, “I want you all to share something that you might have suffered, that nobody else knows.” It was very revealing. The director very clearly set up a situation where she said, “This rehearsal room is entirely private. What was it like to work with these young actresses? It wasn’t snow, it was salt, but that was just exhausting. The scene we did where we were carrying breakfast, we shot that probably about 15-20 times, walking through the snow and carrying a heavy tray, in all those costumes. With wearing a corset, and then the petty coats, a dress would probably weigh about thirty pounds. WATSON: They’re an awful thing to do to a person. Everyone has been in a house of teenage girls.Įven though they’re beautiful to look at, how uncomfortable were these costumes to wear? If something is good and has a lasting appeal, it’s going to stay. I was raised reading literature from all periods, of every century. The first thing we see them do is give away their Christmas breakfast to a family of German refugees, which is a little bit ironic, with all things considered.Īre you surprised that a story that was published so long ago is still so relevant and relatable today, or do you think those human emotions will always be relatable? It heightens what it means to raise a human being, when your country is at war with itself, over its moral conscious. It’s when the stakes for humanity were very high. WATSON: I think it has things in common with the stories that are set during World War II or World War I. With as many times as this story has been retold, it stays within its original period. It’s interesting because this was originally published so long ago, and yet nobody has ever really tried to modernize the story. I think that’s a very universal feeling for young women. It was just that sense of being a teenager, not being comfortable within your own skin, and just wanting to get out of where you were and make something of yourself. WATSON: When I was a kid, it was Jo, for sure. When you first read this story, who were the characters that you connected to the most? And then, you see inside that and you see what she has to struggle with, in herself, to be that person, which I think is interesting. But what I like about the adaptation is that you have a sense of what she presents, which is a united front of strength and stability, and good advice, and just being really cool and not over controlling her children. I didn’t really remember Marmee, from when I was a child. That’s also because I re-read it with a view toward Marmee. Do you look at it very differently now, than you did then?
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