My Job Directing Cranford | TV reviews, news & interviews
My Job Directing Cranford
Director Simon Curtis reveals how Cranford was revisited, in all its bonneted splendour
The other thing is that the details of the community spoke to the audience. A lot of people long to live in a tight, intimate community where your existence is noticed, where there is a set of rules and rituals to live by. Anchored in the small town, it is comparable to Desperate Housewives or Coronation Street, a virtual world that people disappear into.
Mrs Gaskell looks at this community in Cheshire that is for one reason or another dominated by a group of women. So it’s a woman’s perspective on a group of women at a particular time in English history. I’ve heard people talking about Desperate Victorian Housewives. In the new series there’s a foursome – the characters played by Judi Dench, Julia McKenzie, Imelda Staunton (pictured with the director) and Deborah Findlay - and someone has said it almost feels like Sex and the City.
My first job ever was assistant director on Caryl Churchill’s play Top Girls at the Royal Court, which had an exclusively female cast. I’ve always worked with a lot of women. When I did David Copperfield, Maggie Smith and Imelda Staunton were in it and last year I directed Julie Walters in A Short Stay in Switzerland. In fact most things I have done have featured strong actresses including Anne Bancroft, Sharon Stone, Sally Hawkins, Miranda Richardson and, my favourite, my wife Elizabeth McGovern. It does help on Cranford that the blend of the cast includes some of the great formidable actresses.
As a director you have a different relationship with every actor you work with. It’s your job to find out how you can make yourself helpful that person. Every actor travels to a character. But actors of that calibre are successful for a reason. They bring a combination of their own personality and their ability to adapt that personality to a character.
Obviously Cranford is dominated by the women, but if the men in your cast include such people as Michael Gambon and Phil Glenister last time and now Jonathan Pryce or Tim Curry you don't exactly feel a shortage of men. Jonathan Pryce (oictured) plays a widower who is a long-term resident in Cranford but who wasn’t around in the last series because his wife had been ill and they’d been hoping to nurse her to health. But at the beginning of this series he returns a widower to Cranford. Tim Curry plays an exotic magician who is touring England and comes to play the town of Cranford.
It’s often said that if he were alive today Dickens would be write soap opera. I don’t agree. I hope he’d be writing something bold or innovative like Criminal Justice or The Wire. But I don't think of Cranford as a soap opera either. One of the things that is fascinating about it is the element of social history. When a cat is sick in one scene, I remember thinking, here we are recreating this bizarre little episode that actually happened 150 years ago. Or dressing the cow in pyjamas: that is something that also happened.
Cranford has so many people’s signatures on it. The producer Sue Birtwistle, the writer Heidi Thomas and of course Elizabeth Gaskell. In some ways I feel my job is to be a bit self-effacing on it. But I like to think I bring a wit and warmth and a humanity to the table. Television directors are woefully undervalued in this country and that’s for a whole series of reasons. It probably comes from the episodic nature of television which is by definition run by a producer and the writer, while different directors come in and visit. But directing two complex 90-minutes films in two months takes some doing. I’m very proud we managed it.
I’m next directing a play, Lanford’s Wilson’s Serenading Louie at the Donmar Warehouse. It’s going to be fascinating going from a piece of work that is essentially 200 scenes shot all over the country with a cast of 45 leading actors to doing a play set in one room with four people.
Watch The Making of Cranford (part one):
Watch The Making of Cranford (part two):
Watch The Making of Cranford (part three):
- Cranford is on BBC One this Sunday at 9pm and then on Sunday 27 December. Serenading Louie opens at the Donmar Warehouse from 11 February 2010.
Subscribe to theartsdesk.com
Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 10,000 pieces, we're asking for £2.95 per month or £25 per year. We feel it's a very good deal, and hope you do too.
To take an annual subscription now simply click here.
And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?
Sheridan Smith pulls out the stops as cancer sufferer Lisa Lynch
Australian nurses-at-war drama lacks gravitas (and a decent budget)
New Cold War spy drama follows a familiar recipe
The comic's first sitcom in a decade is a delight
Celebs taste (and smell) life in a Victorian slum
'King Lear' meets 'Dynasty' in lurid hip hop drama
A tale of bands in vans that, for the most part, stuck to familiar routes
It's still sharp, but should the BBC be flagellating itself a second time?
Untangling the structure of Islamic State reveals the scale of the enemy
The hills have eyes in this sinister new Lakeland thriller
Impressive talents in remarkably gimmick-free Beeb competition
New puppet satire can barely drag itself to the finishing line