‘Red Riding Hood’ Round Table Interview – Maahin’s Report

Amanda Seyfried, Shiloh Fernandez, Max Irons, Adrian Holmes, with director Catherine Hardwicke were in London to promote their new film Red Riding Hood, a twist on the well known fairytale, and we were invited along to a special round table with the cast and crew.

First up were director Catherine Hardwicke, and Adrian Holmes who plays the Captain.

What did you think was special about this story?

Catherine Hardwicke: Leonardo DiCaprio’s company had written this script, and I guess they thought it would fun and interesting to go back to the original roots, even before the Brothers Grimm, when there was a werewolf in the story. It is an intricate tale, with different levels of symbolism… so I said ‘Yeah, sign me up!’

Why do you think forbidden love works so well?

CH: I guess if you have a happy love story then it’s kind of boring! (laughs)  Something bad has to happen to them, something to keep them apart.

Tell us about your now famous bedroom. We’ve heard all the love scenes are rehearsed on this bed.

CH: It started with my first movie, Thirteen. Evan Rachel Wood and Nikki Reed met in my house. It was a low budget movie. I had them audition the scene on the bed, where they had to kind of meet for the first time… That was great because you could see they had chemistry right there. Same thing with Twilight, we had everyone come over there. It’s just meant to feel like a comfortable place. A lot of the time when I audition, I do it at my house. It’s a funky, 1907 beach house. Its very casual relaxed. Mostly we audition in a sterile place. Adrian, we auditioned up in Canada, he didn’t come down to LA.

Adrian, you had to kill Gary Oldman, did you feel guilty?

Adrian Holmes: I felt very guilty but I got over it quickly. He’s stronger now, like Obi-Wan. It was a very overwhelming experience for me, to not only work with Gary Oldman, but work as closely with him as I was blessed to in this movie. Our energy really compliments each other, I think. We had a lot of fun, as tense as the scenes were. When we weren’t shooting, we were laughing a lot, singing songs, and just having a good time.

What songs?

AH: We sang Beatles songs actually…
CH: Gary knows every Beatles song.
AH: He knows every track. He and Lukas (Haas) would be jamming the whole time. I have a new appreciation for the Beatles, all over again.

How was having Julie Christie cast in the role of the Grandmother?

CH: That was like a dream come true for me. She’s such an amazing presence that we all know, a legend, and so beautiful. When I spoke to her on the phone I told her this grandmother would be living alone in the woods, a bohemian spirit, strong enough to take care of herself. She’s not going to be like an old granny. She was like ‘Oh thank goodness, because I wouldn’t do that!’ And the set was like 110° (Fahrenheit), I was like ‘I’m so sorry Julie, you have to wear long sleeves and its really hot’, and she just said ‘I get to take breaks, you’re the one stuck here all day, I should be apologizing to you’. And this is an Academy Award winning actress, so gracious on every level.

Back in your childhood, which fairy tale was the most impressive to you?

CH: I actually did like Red Riding Hood. When you’re little, you’re scared of the wolves, and the dark woods, and you don’t want to go there. It represents all these kind of fears and evils. Then when you get older, you start to think there are other layers to the story, like the sexual undertones.  In Bruno Bettelheim’s book ‘The Uses of Enchantment’ he talks about how fairy tales have different meanings are different parts of your life. If you return to it, you can find another level.
AH: Red Riding Hood was also a favourite of mine, as well as the Three Little Pigs. Both of them having the wolf as the bad guy.  I just found it really interesting. (to Catherine) Maybe we’ll do that some time…
CH: (laughs) Yeah… And Red Riding Hood is one of the few fairy tales where she’s not rescued by a prince. She stays on her own.

What does the red cape symbolize for you?

CH: Oh, lots of things. There are so many interpretations: power, sexuality, sensuality, loss of virginity, blood. So many artists over the last four centuries have been inspired by it. Even Japanese Anime artists, with Red Riding Hood holding the axe with blood dripping. I think it means so much to so many people that we wanted to find this really vibrant, beautiful colour for it.

Didn’t you do some artwork to pitch the film, the way you wanted it to look?

CH: I did some paintings and drawings myself. I worked with this really fun artist, he and I worked together. Then you have to go in to the studio, put your drawings all around the room, to say this could be the feel. They wanted it to be very colourful, and fresh and modern. Alexander McQueen had done some beautiful photos and gorgeous fashion layouts of red in the forest, so I took some photos of his, with vibrant red. I took paintings of Bosch and Gauguin, and painted over them to create our world.

You were a production designer for many years, what sort of eye did that give you for visualizing?

CH: Well it was a tight budget, of $42 (million), and they wanted it to look big, so we had to create that whole fairy tale world. Because I can draw myself, I drew the first set designs, that’s helpful in terms of how we can build the village and everything. You have that structural visualization, given a blank space you’re like, okay I can do this, this and this.

Did you shoot in a studio?

CH: We shot some on location, in Vancouver, and some in the studio. They have a beautiful forest there. That’s where they shoot Twilight now, but I did mine in Portland. I wanted to make it not look like the Twilight forest, so we put the thorns on the trees. We also had botanical gardens near Vancouver with trees from all over the world.

Did you always have Amanda Seyfried in mind for Valerie?

CH: Yeah, I felt she had a fairy tale quality. She’s ethereal, and has beautiful eyes. When I’ve seen her in other films and speaking, like at an Autism benefit, she draws you in, and makes you feel what she’s feeling.
AH: She’s perfect for the role. She was really, really perfect.

How did he (Adrian) convince you?

CH: He was just good.
AH: I really got connected with the character when I read the script, I loved the script, it was a real page-turner. The Captain was really someone who just clicked with me. In my head, I had a certain actor in mind, Djimon Hounsou, who’s a really powerful African actor. I saw him in this role, and thought how would he approach this. I dug into my toolbox, and came out with my own interpretation. It all worked, and here I am.

Did you always want to be an actor?

AH: Yeah I’ve been acting since I was about nine years old. Doing a lot of plays. I was pretty shy growing up, and found it was like an outlet for me, to have a voice. It was very therapeutic. Then I started getting into film and television, doing background work, then getting bigger and bigger roles. I’m very grateful to make living doing what I love.

The live action fairy tale is very much in vogue at the moment, with Enchanted, Hansel and Gretel, and at least two Snow Whites coming out. Why is Hollywood becoming so enamoured with this idea?

CH: Well, of course they love any title that’s already known. Any franchise, and sequel, any prequel. They’ll take anything! (laughs) I think they see that it’s a title everyone in the world knows, and they can hook on to it.

Is there going to be a sequel?

CH: I don’t think there will be a sequel… But yeah you never know.

Do you control the creation of the wolf, or is it just a team of special effects guys?

CH: As a director you work with them, and we did have a great team called Rhythm & Hues. We had a pretty tough time to do it. But it was very fascinating for me to go through that process, creating a character from scratch.

Next Shiloh Fernandez, who plays Peter, came to speak to us.

So how did you come on board this film? Did you audition or did Catherine Hardwicke already have to in mind from when you were almost cast in Twilight?

Shiloh Fernandez: I wish she had kept me in mind, but to be honest, she didn’t I think. I auditioned for her other movie Hamlet, which didn’t get made, but I had hoped that that would work out. Then I read this script, and heard she was directing it, but there was a British actor who had been telling all my friends that he’d been cast in it. So I went up to her, and was like “What the fuck? I mean, we were supposed to work together.” And she told me it wasn’t true, that he wasn’t in the movie. So I went to her house to audition, and Keisha Castle-Hughes was staying there, and I read with her. It was quite a rigorous process. I had long hair, and Catherine was really trying to make it work, because when there’s a studio involved it never really comes down to just the director, unfortunately, and if it did I think I’d get a lot more parts. So yeah, she took me to her hair stylist, and she started cutting my hair, slowly. I was like, okay, if you think it’s a good idea I’ll do it, and then I ended up like that (points to the poster out the door). I wouldn’t even dare do that in my real life.

How much time did you spend on the infamous casting bed?

SF: This time? There was no bed involved this time. We stayed in the garage the whole time. Actually, I think Warner Brothers didn’t want her to do that this time.

As a child, were there fairy tales you were afraid of?

SF: As a child, I didn’t really get read any fairy tales. After doing the first press junket where people asked me that, I had to talk to my dad. He made up these stories, called the Magic Boy stories. But the way that I was raised there wasn’t really any fear. My dad has a five year old and a three year old, and they feel so safe, and I think that’s how they’re raised. There wasn’t a lot of fear. The only fear was, like, school. I hated going to school.

So you didn’t read fairy tales, you read Playboy?

SF: Yeah.

Are you ready to be the next hot guy?

SF: I’ve been waiting a long time.

Like the next Robert Pattinson?

SF: Do I want to be the next Robert Pattinson? No. What I want is to be able to make movies, like he can make movies. But I don’t know how all the craziness and the fame would affect someone, I think he’s handled himself really well.

How do you react to seeing yourself up on posters, and on magazine covers?

SF: There’s no connection, I don’t really understand. It’s very separated from my life. I have the same life I’ve always had, nothings changed. Its not like I get recognized. But I don’t look like that, right? (referring to the poster)

Did you audition just for Peter, or for Henry as well?

SF: What happened was, they wanted everybody to read for both parts. I wanted to do a good job, and I didn’t think I could do a good job trying to memorize both. It would be the same, you know, you read the parts in the same way. So I came into the first one, and I only auditioned for Peter. Then I got a call from Catherine saying ‘everybody loved your audition, but we want you to come back for Henry’. I had to think about it, ‘cos I didn’t really understand that.

What was it about Peter then?

SF: Well, everybody wants to be the hero, or sees themselves that way sometimes. What I loved about him is that he’s good the whole time, even though you may think he’s something strange or wrong with him. But really the whole time he’s trying to do the right guy. It’s better to want to be something, and strive to be that, than saying that’s who I am and I’ll just be myself, I guess.

After not getting Twilight, what do you think of the movie as a viewer?

SF: I thought the book was cool, and the reason that I wanted to do it was because it was a great part, Edward was a great part. I thought he really did a great job. I actually saw it with Ashley Greene (Alice in the Twilight movies). It’s a once in a lifetime phenomenon. I didn’t see the other ones, I just saw the first one. And Catherine’s a great director. She connected with the youth in a way that’s unexplainable, and I’m really impressed with that. I felt I could fit in her world.

What’s next, Shiloh?

SF: I have a movie, called Skateland, coming out in May, I don’t know when its coming out in the UK. I really proud of that movie. There are five things that I want to do, that I’m attached to, but none of them have any money, so if you have any money… But there’s a British movie called Beloved that I really hope happens soon. Sandra Goldbacher is making it, and its got Andrea Riseborough.

Then we spoke to Max Irons, who plays Henry, the boy Valerie is engaged to.

Is it difficult to make the first steps as an actor, with parents (Jeremy Irons and Sinead Cusack) and grandparents (both mother’s parents were actors) like you have?

Max Irons: I don’t think it is any more or less difficult with them, if I’m honest. People have their own opinions, which vary from country to country. In this country we have a heightened awareness of nepotism as an idea. Realistically, I don’t think you’re going to get a job because of it. There’s too much money invested, director’s reputations – I don’t think it works that way.

Does it help though?

MI: Perhaps there are casting agents out there, who would say I will meet them because of it. But then again, if you go in there and do a rubbish job, you’re finished. And they’ll remember.

You won an award for Wallenstein, but even though you’re making movies, would you do theatre again?

MI: Actually, the next thing I want to do is theatre. I mean Schiller is one my favourite playwrights of all time. I wanted to do Louis Miller, but I couldn’t do it because I was away. But yeah, theatre, more of it.

Do you prefer theatre to film?

MI: Well no, I’m so lucky, and overjoyed to be in a movie, especially with the calibre of actors we’ve got in this. But in terms of what I enjoy most,  is theatre without a doubt. It doesn’t pay as well, and not as many people see it, so my agents tell me not to do it. Just being able to go through the story every night is exhilarating. It also requires you to live a certain way, a kind of ordered life. You feel good doing it. And if it’s a good play, it should complete you.

Did you ever get a line of advice from mum or dad before you took up acting?

MI: They’ve always said to me to keep an eye on what’s important. The work, the acting, that’s important. The rest is consequential. You know, the photo shoots, to a certain sense, the press, and for lack of a better term, celebrity. That’s all consequential.

Did you ever not want to do what your parents do? Did you ever want to be something boring?

MI: I wanted to be a fighter pilot, for a long time. I have encyclopaedic knowledge of aeroplanes, I don’t know I just do. Then I realized you have to kill people, which is a bit of a downer. But no there was no active rebellion against it. But I have parents who don’t particularly like the superficial element of being an actor, and keep away from it.

Did you consider changing your name?

MI: In the world we live in today, with the Internet, if someone wanted to find out who your parents are, they could. Also I’m not ashamed of them. I’m very proud of them. When people say, oh you want to follow in their footsteps, I find it strange because what you kind of want to do is forge your own path, but at the same time acknowledging his.

When you see them acting is it easy to see them as actors, or do you always see them as your parents?

MI: I think I always see them as actors, which speaks for them as actors. There are certain things I don’t want to see, like the sex scenes. Occasionally you stumble onto them, it’s very uncomfortable viewing.

Do they ever give you any pointers on how to work?

MI: It’s a bit like parents giving you driving lessons, you know they’re right, but you want to tell them to shut up. But if I’m going to Los Angeles to meet people, they will tell me what to expect, or what a screen test involves.

Has there been a movie recently, which really impressed you?

MI: A movie I saw this year, which is the kind of movie I’d like to do most, The Social Network. Just because the writing was so good. Great cast, great director, great script – what more do you need.

And what’s next?

MI: Who knows, I’m weighing up my options. Theatre, ideally.

And finally, we got the chance to speak with Amanda Seyfried, who plays Valerie.

As a child, did you know a lot of fairy tales, and did they ever scare you?

Amanda Seyfried: I was afraid of fairy tales, but I’d heard them all. I had this Teddy Ruxpin tape player, and I had three tapes, one story on each side, and they were all narrated by this British man. They were very scary… I listened to them a lot to go to sleep at night, and then I’d have nightmares. I was so mean to myself. It’s probably why I was so afraid of everything.  But the Brothers Grimm stories are very, very dark. Psychologically, they’re just intense. As much as they were meant for children, I don’t think children should be reading the original stories. I guess I don’t get what’s implied, when you’re three, you don’t get that there are sexual undertones. You get a lot of sexual symbolism… It’s just very dark.

What attracted you to playing the character?

AS: The opportunity to play an iconic figure. And I thought that the script was really good. The whodunit aspect of it was well written. Nobody could really figure out who the wolf was. It’s good writing, if you can keep that under wraps.

Did you have to fight to get the role?

AS: Nope. It’s kind of boring when you don’t fight. It just happened, it was too easy. I’m in the process of fighting for a role right now, and if I get it it’ll be that much more fun.

If you had two guys fighting over you, which one would you choose? In cinema we usually go for the wild one…

AS: You’re right. I think whoever gets my blood going more… I this age I don’t see myself going for the safe choice. Right now what’s important to me is experiencing passion. Someone, no matter wonderful they are, if I don’t feel it in my bones, then I’m probably going to overlook it… for now.

Have you ever acted roles for the money, then hated it?

AS: Kind of… But not hated it. I’ve never hated anything I’ve done. The experiences I’ve had were very unique. Its not secret that I got a really big pay cheque for Letters To Juliet. It ended up being one of the most rewarding experiences of my life. I was living in Italy with Gary Winick (the director), who became a close friend, and Caroline Kaplan. It ended up becoming part of my life, and making it better. And it was a love story I wanted to do, and I loved Gary.

Did you do anything stupid with that kind of money?

AS: No. I bought a house though. Letters To Juliet was my apartment in New York… All My Children was a pair of shoes, because I was young and I didn’t really make any money. But my LA house is Red Riding Hood.

How far would you if a director wanted you to change something about your face or our body for a role?

AS: If a director wanted me to change something about my face, I’d be like ‘fuck off’. But if I had to go any thinner, I wouldn’t, I mean that’d be stupid. And I wouldn’t gain weight either. I’m just not into that. It really fucks up your immune system, it’s not worth it. I guess I’d consider botox…

How does working in film compare with working in television?

AS: Well, it’s over now, but television is faster, there’s less attention to every detail. But it doesn’t feel that much different.

What importance does a film like Mamma Mia have for you?

AS: The first thing I think about is that it really did bring joy to the world. It did. It’s a silly movie, but it was very successful in making people feel good about themselves, in their lives. They watch it over and over again, because they want that excitement, they want that high. A two-hour movie can transfer you to this whole other world… The enjoyment the audience gets from the movie is almost the same as what I had in my life at that time. I was really living with Meryl Streep, on a Greek island, in love. And I was getting to do I love most, which is singing.

We’re seeing quite a few live action fairy tales with a twist coming up, why do you think Hollywood is getting these films out now?

AS: I think it’s the whole supernatural thing, with Twilight, and vampires, and werewolves, and ghosts… That is just inspiring because its part of a different world where there is no real danger in our own lives. I think the supernatural thing is very interesting, and you can do so much as a filmmaker and an actor with that idea. And then fairy tales have a very similar quality, and we all know them. I think all the producers are just seeing dollar signs.

Red Riding Hood is released in UK cinemas on April 15th

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