(:: History ::)
1)Emma and Dexter pass at night together after their party of the end of study and décident…de to remain friendly. He is carefree and frivolous, she is filled with complexes. During 20 years, Dexter and Emma are going to love, to part, to hate themselves, to fail … will they end up understanding that they are never so happy as when they are together?2)After spending the night together on the night of their college graduation Dexter and Em are revisited each year on the same date to see where they are in their lives. They are sometimes together, sometimes not, on that day.
Date (s) of Exit (s):
August 24th, 2011 | 
August 19th, 2011| Accomplished by: | Lone Scherfig |
| With: | Ann Hathaway, Jim Sturgess, Patricia Clarkson, Romola Garai, Jamie Sives, Rafe Spall, Jodie Whittaker, Georgia King, Amanda Fairbank-Hynes, Emilia Jones... |
| Distributor: | SND |
| Type: | Comedy, Drama, Love song, |
| Country: | England, Denmark |
| Length: | 1 h 46 |
| Original title: | One Day |
France: https://www.facebook.com / unjour.lefilm? sk=app_190322544333196
USA: http://focusfeatures.com/one_day
USA: http://www.facebook.com/OneDayMovie
(:: Trailer for One Day ::)
(:: Free Streaming to Watch One Day Online ::)
(:: Pictures Of One Day ::)
(:: Downloads Links ::)
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Part1
Part2
(:: Scenes of the movie ::)
Blow of heart for a history d'amour:“The intelligence of the writing of David Nicholls very much pleased me, ”explain the film director Lone Scherfig. "But what especially enticed me, it is that it is about an authentic love story as they read it little."
"It is outright a love story, "David Nicholls, author of bestseller continues One day and of eponymous scenario. "But the book also speaks of friendship, family relations, the nostalgia of the time which passes and regrets which it is possible to feel, and due to the fact that our hopes and our dreams don't come true always – or, very at least, not as it would be possible to expect it. Tonality is therefore bitter-sweet."
"I wanted to write a classical love story – because I think that it is of this that it is – who recalls the instants of happiness and of crisis of a relation on long term, "he resumes.
He will have needed two years to write the novel: "I wrote other texts meantime, "he specifies. "And then, I was to be very methodical, as though it was a jigsaw puzzle: I seeded the 'seeds ' of intrigue at a definite instant which gave rise to rebounds some years later. I had to think about what is going to take place every July 15th. I didn't write One day by thinking that it would become a scenario later, but I love imagining dialogues, so I tell myself that the book took part undoubtedly very well in a film transposition."
"I took a lot of pleasure by writing this novel, "he adds. "I first wrote the first half, and then I stopped during about six months, before coming back there to correct what I had already written and to write the second half."
The producer Nina Jacobson, reputed to disclose the film potential of a book and to produce adaptation, was confused by day. "I fell in love characters, "she says. "It is an universal history. The protagonists, Emma and Dexter, just as their course, are emblematic of the way they evolve after the university: in twenty years, they change necessarily."
"It takes time to become grown-up and, by the fact that we are really ripe, they didn't live willy-nilly with the person who is the best suitable for us. It is a necessary time, but that it isn't possible to find. It is therefore a story a nostalgic bite."
Understanding that there was material there in an emotional comedy worthy of this name, she tried hard to block the rights of adaptation of the novel, getting involved to Nicholls in the fact that the film, as the book, takes place in an English context and in the fact that it is it which signs scenario. "Nina really made sure to remain faithful to the intrigue of departure, "signal Nicholls. "It is a force of nature! I am staggered that the film comes so fast."
"Most studio would have had tendency to Americanize intrigue, and not to keep the English characters, "underline Jacobson. "For me, it would have betrayed the soul of the book and the singularity of the protagonists because the charm of the novel is also fond of its British context." souligne Jacobson. "Pour moi, cela aurait trahi l'âme du livre et la singularité des protagonistes car le charme du roman tient aussi à son contexte britannique."
"They therefore searched partners disposed to respect the English world of the book, "she adds. A co-production therefore came between Random House Films, Focus Features and the English Film4 society. It is thanks to this last financing that the producers, liberated from the pressures of budget, could concentrate on the realisation of the film.
The writer wasn't in his first transposition for the cinema there, since its novel Choke for Ten had made the object of a film adaptation. But the intrigue of day was more ambitious: "It is a true literary challenge to condense twenty years of the life of a character in a book, "he entrusts. "And when it is necessary to reduce it even more – in two hours of film – it is necessary to agree to cut quite a lot of things. But this being said, the film is a very faithful adaptation of my novel, at the same time in terms of narration and in terms of atmosphere and of tone."
"Dex and Em see each other more than once a year, but to us, as audience, we see them that day very particular of the year, "definite Jacobson. "It is what takes place in the book, and in the film also."
"As soon as Nicholls is at the same time the author of book and of scenario, they knew that even if there had to be simplifications, the romantic aspect of the novel would be found in the film, and the emotional and geographical courses of both protagonists, "she adds.
To adapt the book for the cinema, production didn't hesitate to suggest the name of the film director Lone Scherfig which An education was named in the Oscar of the best film. But Nicholls and Jacobson had also appreciated Italian for Beginners and Wilbur. "It was obvious that its qualities of film director were those that we searched: a sense of integrity and a capacity to orchestrate the instants when action is intense and others where she loosens, "notes the writer.
"Lone was our the very first choice, "outbids the producer. "When its films are seen, they understand that she can perfectly make exist her characters on the screen and run her actors, and return palpable intimacy between people."
"They were sure that she would reveal the subtleties of the characters and of their trajectory, and that she would emphasise the epoch and the place where takes place intrigue, "she continues, "without losing sight that Emma and Dex are the pillars of history. As though it was necessary to run an orchestra, sure that the first violin is nevertheless heard."
The film director fast got involved in adventure, and began thinking about actors' good combination which, as points her out Jacobson, "had to be as high as hopes, given the phenomenal success of the book."
It happens that Ann Hathaway, named in the Oscar, had read scenario very upstream of the preparations of the film. "She had so much loved the character of Emma whom she came deliberately to see me in London to explain why she has absolutely to get the role! "Lone Scherfig signals. "Ann has the same sense of humour and the same force as Emma. It is a big actress who made a being of the character at the same time warm and fragile."
"If they are lucky, it is possible to fall on a scenario which deeply touches you, "underlines the actress. "And if they are still lucky, it is possible to fall on a character who speaks to you. With Once I found two."
"Nina Jacobson had sent me the book, which was appeared in England, but yet in the United States, "she follows. "I read scenario before reading the book. I will always see each other again bedding at the table of my kitchen, reading it, and discovering a script crossed by passion, as ignited. I was enthralled by many rebounds. I succeeded in imagining stages in my head. I heard the voice of Emma, and its accent from the north of England. In short, I became identified with her and I loved her."
"I didn't think that production would agree to audition American actresses, so when I learnt that Lone was ready to meet me, I was delighted."
The film director declares: "Emma is witty and not very sure of herself, and it is a big hard worker always with the nose in its books. The question which is asked throughout history is to know if Dexter doesn't come from a middle too much favoured for her and if he isn't too much sure of him. With her palette of game, Ann could express doubts of her character, as her tenacity, and her capacity to pierce Dexter up to date."
"She interpreted Emma with subtlety and humanity, "she still says. "Ann is a generous and audacious actress, and it is there rare qualities which she shares with the biggest stars of the American and English classical cinema."
Ann Hathaway resumes: "Both protagonists were already very incarnate and represented with authenticity in David's scenario. There is feeling immediately to know them. When they feel an emotion, it is also felt. They are confused by the instants of strong emotional intensity because they become identified completely with Em and Dex, and with the couple whom they form."
"They have each their priorities, and each follows a course which is peculiar to it, but their relation describes, also, a trajectory "says. "They are seen making errors which are excused them because they tell themselves that the same would be undoubtedly made."
David Nicholls adds: "Emma Morley is a complex character who implements everything to accomplish his ambition. When his acquaintance is made, she isn't satisfied: not only she isn't liked in return by Dexter – at least seemingly – but she works in a tex-mex restaurant – Loco Caliente – before becoming teacher. Until the day when she really blooms by writing books for children."
"Ann Hathaway has vulnerability and intelligence which was needed for the character, "he asserts. "Across Ann, Emma is seen maturing and changing. She is of a big precision."
"I trust Emma and I would like to know her, "declares the actress. "For me, she is authentic and I told myself that if she was her for me, then she would be him for all those who would see the film."
Definite Jim Sturgess: "Dex explains to Emma that she is the most clever girl whom he knows. I must say that there is Emma in Ann a lot. She is of a big intellectual animation, just as Emma. Between catches, I was often next to her and, while I read a trivial magazine, she was plunged into a demanding novel: exactly as Em and Dex! She is adorable and they immediately really agreed."
"I was very happy to have as partner somebody who got involved so much in intrigue – who is often odd, but also very moving – and in the characters, "he says.
"When we made make a trial end to Jim with Ann, they were hit by the alchemy which freed, and due to the fact that they would like that they like each other, "remembers the producer. "And for a romantic comedy, these are essential elements."
"Ann completely became identified with Emma, and Jim right away understood that Dexter is a complex character whose emotional evolution takes place on long term. Jim has the same sense of humour and the same easygoing elegance as Dexter. Suddenly, he could make sure that they understand, and that they excuse, his character even when he doesn't act in an exemplary way, because Dexter has quite a lot of defects."
"Jim really has the team spirit, "underline the film director. "He minimises his efforts, but he got ready for the role with determination by paying attention to the slightest detail, including of psychological order."
"Jim Sturgess is an actor at the same time delightful and warm, whom I always admired in its films, "takes back Nicholls. "He could attenuate the worst defects of Dexter Mayhew."
The actor has his own opinion of the character: "I think that it was important not to judge it too harshly. It is a character difficult to surround because he evolves throughout the film a lot: I don't think that he really knows who he is. He simply wants to use life at the farthest."
"But he isn't perceptible similarly by everybody, as us all besides, "he continues. "Dex can appear as a nice scoundrel for some and a carefree student for others. And he allows to his mother Alison [camped by Patricia Clarkson, named in the Oscar] to immerse himself again into his youth: she loves her clownings and her humour."
It isn't possible to say about it so much of the father of Dexter, Steven, that interpreter Ken Scott, laureate of Olivier Award. Sturgess explains: "Steven thinks that his son became odious. Dex is allowed to make drunk by the world of ' People ' when he becomes newscaster television, but he changes once again when he gets married [with Sylvie, interpreted by Romola Garai, named in Golden Delicious Globe] and that he has a child."
Sturgess has never lost sight of what matters most with the eyes of Dex, even if it isn't the case of this last. "It is a history which speaks of the thunderbolt with realism, "he says. "If there is well a thing which doesn't change at Dexter's throughout the film, it is the fact that it remains the best love of Emma Morley. It allows him to be structured. How, in this context, is he going to manage this situation? It is what will be learnt in the film."
"It is this course which constitutes the spinal column of Once" takes back Ann Hathaway. "Dexter has never had true problems in life. At the beginning of history, he thinks that it is capable of fitting to everything and that it will always take out wonderfully – and it is what takes place during some time. But when things take a bad turn for him, he can't be taken there. He is lost and, by looking at him, they hope that he will find more serenity."
"I taught a lot in clairvoyant Jim to work, "she continues. "He is sensitive at the same time, and of a big generosity, while being a big hard worker who always offers new ideas. He fed the character of his clean qualities: Dex that he interprets is moving."
If alchemy works wonderfully between both actors, Scherfig adds that "Ann and Jim came to an agreement, he seems, to make everything so that this film is a separate work. There is a lot of complicity and respect between them, and they seem to like each other tremendously, what the spectator won't miss to receive."
Nicholls became aware that both actors are going to appropriate the characters whom he had imagined: "A book belongs only to his author, "he is recovering. "It is it who makes, to the characters, say what he wants and who chooses the cover even, sometimes."
"On the other hand, a film is a work of collaboration, and it is data which it is necessary to take into account, "he adds." ajoute-t-il.
For her role, Ann Hathaway was delighted to have a very rich material. "If I had power of it, I would ask that they accompany every scenario that I have in the hands of a book, "she says. "Because, in general, it is necessary to imagine oneself what misses. With Once when I was unaware what could be the involvements of this or that stage, I could consult the book. It proved to be of an extraordinary wealth."
"As David is at the same time author of book and of scenario, there were a lot of cross-checkings between two, "she specifies. "I loved disposing no anchoring of the book as. I read it again and again and, every time, I appreciated it a little more, and I was surprised by new elements."
Nicholls refined scenario throughout the winter and throughout the spring, 2010. "A writer works alone permanently, while a scriptwriter must participate in meetings and find solutions. It is a true teamwork."
"They discuss full of things, ideas are exchanged, but all that is made in a relaxed atmosphere, "he says. "It was a pure happiness to work with Nina and Lone."
"That it is about the book or about David's scenario, there is feeling to read a text written by a friend, "brings back Scherfig. "I find that adaptation is extraordinary because there is there a big love story and an attention to difficulties which cross the protagonists. rapporte Scherfig. "Je trouve que l'adaptation est extraordinaire parce qu'il y a là une grande histoire d'amour et une attention aux difficultés que traversent les protagonistes.
Having picked the technical cutting up of the film – qualified of "terrible and thrilling at the same time" by Nicholls – actors and technicians were ready for filming.
The book:
At the time when A day entered filming, the eponymous book has already been a bestseller worldwide. Published in around thirty languages, he heaved itself at the head of sales in the United Kingdom, in Italy and in Sweden, and also very well positioned in Germany and in Russia.
From its publication in 2009, A day received a passionate reception of criticism and of public. Number 1 of sales established by Sunday Times, he won the Galaxy National Book Award and was sold to 400 000 copies in Great Britain.
Published in the United States to Vintage Books, the book immediately benefited from a strong word of mouth and registered on the list of the bestsellers of New York Times during twelve weeks in a row. It was sold to 600 000 copies on the American territory. New York Times Book Review dedicates the novel as one of 100 better books of 2010, while the magazine Entertainment Weekly puts it among its best works of the year: the critic Henry Goldblatt notably writes that it is "about a luminous and destructive portrait of two soul mates."
The writer declares, as for him, that his book "isn't autobiographic, even if, obviously, he is fed on my own memories of two decades during which evolve Em and Dex."
"I wanted that there is intimate feeling to riffle through an album photo and to feel emotions which every plate causes, "he still says. "In my story, this plate corresponds this particular day of the year: on July 15th. They are almost the same in 23 years and in 43 years, and however they very differ." dit-il encore. "Dans mon récit, ce cliché correspond à ce jour particulier de l'année : le 15 juillet. On est presque le même à 23 ans et à 43 ans, et pourtant on est très différent."
"The book enticed readers at the same time younger and older than me, "he follows. "They recognised themselves there, and it surprised me and delighted me because it is about a book and about a history very personal. But some readers wrote me to say to me, 'I knew Dexter myself, and the book allowed me to take back contact with him,' or, 'I knew Ema myself, and I married her.' I think that if people were also touched by this story, it is because there wasn't love story taking place over several years for a long time."
"I hope that those who liked the book will love the film, "him concludes. "Since I am very small, I always loved literature and cinema, and I have never succeeded in deciding between them."
The day of Holy Swithin:
The famous "day" about which speak the book and the film – in the centre of the relation loving Dexter and Emma – is on July 15th which also coincides with the day of Holy Swithin.
There is a counting rhyme in British tradition:
If it is raining for St Swithin,
During forty days it will rain.
If it is nice for St Swithin,
During forty days it won't rain.
The day of Saint Swithin (sometimes spelt Saint Swithun) falls every year on July 15th. According to the legend, if it is raining that day, it will rain then during forty days, and if it is nice that day, then the sun will shine during forty days.
The legend draws inspiration from true Holy Swithin, Anglo-Saxon bishop of the Cathedral of Winchester which lived in the IXth century of our epoch. While tradition would like that he is buried inside the cathedral, he asked, on its deathbed, to rest in the neighbouring graveyard, so that its burial could be displayed to the rain and which the faithful could pass near him. If his wishes of unassuming man were first respected, his skin was moved in a tomb inside the cathedral nine years later. They think that, as a sign of discontent of the bishop, a terrible storm occurred and continued during forty days. That's how the legend was born which continues even today.
"I also drew inspiration from the song of Billy Bragg, St Swithin' s Day, which I discovered in the eighties, "specifies David Nicholls. The filming of day started in July, 2010 and continued during several weeks, including so the day of Holy Swithin!
Romantic places:
It is in the course of the summer, 2010 when the team of day made the film in London, Edinburgh and Paris during eight weeks: the season was opportunely chosen since the history of Dexter and of Emma takes place in summer! In the last analysis, the team took its districts in about fifty different places.
"They were away at all times, and many things were lived, but they were always on July 15th, "explains Lone Scherfig, smiling.
"There had a plan of very ambitious filming as a modest budget, "add Nina Jacobson. "Luckily, the team quickly found its marks. Every technical department met, and even showed, our requirements."
"The decors which we chose give us a lighting on the state of mind of the protagonists at this or that instant, "her specifies. "Our two main actors were all stages, and it was sometimes a race against the clock to finish the filming of every sequence on time."
Ann Hathaway appreciated a lot the travelling rhythm of filming because, she says, "fact to turn in real decors allows to surround well the atmosphere of the stage and to tell story well. I was delighted to be in London, they are never disappointed by Paris, and they had a good time a lot in Edinburgh!"
In Edinburgh, production achieved feat to make go up all team of filming at the top of the hill of Arthur' s Seat – to 251 metres in altitude – during two days. The heaviest equipment must be routed by helicopter there, but all rest was transported by the members of the team themselves there. Filming also took place to Moray Place and Parliament Square.
In England, the team notably invested the studios Ealing where big classics as Killers of ladies and It is raining always on Sundays were turned. But production also got its districts from the famous studios Pinewood, where pink Panther and saga James Bond was born, in Westminster for a wedding stage, and in Big Well at dawn, then on several streets enlivened near Waterloo and of Dalston.
The triumph of the book and the notability of both main actors pushed very many idlers to rush on the streets of London when the team ventured in natural decors. "People came to see me to wonder, 'this or that passage in the film does be found?' or 'who plays this or that role?' It is the first time that I represent a character who already exists in the imagination of people."
The film director wanted to make of London a full character. "London is a city which gives a tremendous number of different faces and that moves a lot, "she points out. "Besides, I remember very well periods which we describe. Throughout the nineties, London was an extremely dynamic city and, as Emma and Dexter lead palpitating lives in this epoch, I wanted to be productive palpable these instants there."
"The city, as epoch in which takes place intrigue, inspired the visual style of the film, "her underlines. "That's how we adapted tonalities and decor for every sequence and every year."
The technical team united the director of photography Benoît Delhomme, leader make-up artist and hairdresser Ivana Primorac, the leader-interior decorator Mark Tildesley and leader costumer Odile Dicks-Mireaux with whom the film director had already collaborated on An education. In Paris, the film was notably made in the Royal Palace – for a tête-à-tête between Dexter and his mother – at the Railway station of the North, undoubtedly most visited of the capital, and in the district of the Holy channel Martin. The Parisian stages take place over two years: first in 1990, at the time when Dexter teaches English during one year in Paris and receives the visit of his parents, and then in 2001, at the time when he is going to see Emma, from now on author of children's books reputed living in Paris.
Scherfig explains that "Paris of the mother of Dexter is very smart Paris, while that of Emma is Paris bohemia."
"I always felt like turning it would be only a stage in Paris, "asserts Sturgess. "The city is represented in a terrifically realistic way in the book and it was brilliant to be suddenly in streets described by Nicholls."
Besides Paris, the team established its districts in Dinard and in the ambient region. Several natural decors were used by production, as harbour, swimming pool of seawater and the beach of Guimorais. If both protagonists of the book spend their holiday in Greece, Jacobson notes that production needed "to find a place closer to our HQ. Dinard is terrifically romantic and as adorable at least as Greece."
"It is about a film which takes place only during summer period, and fact to turn in Brittany lent an exceptional favour and a softness in this expensive day in the middle of our two characters, "adds Scherfig.
A summer after other one, during twenty years …:
"Lone leaves nothing absolutely haphazardly and is interested in everything, that it is hairstyles, making-up, costumes, "signals Ann Hathaway.
The film director acquiesces: "This filming was a tremendous challenge for all our leaders of post. The film begins one day of 1988, in the early hours, and ends in summer, 2011, at the time of dusk, and makes us share the odd, moving and difficult instants of the history of David Nicholls."
"Most technician lived in stage with our protagonists, "she notes. "The film is stuffed with small authentic details, as a curtain into which rushes the breeze come from the Thames, or else the too hot boots of Emma, or the song coming from Dexter's car radio."
Even if history takes place on about twenty years, chronological evolution has to be subtle and progressive. "The more they advanced, the more I told myself that every year is going to be characterised in a modified and definite way, "raises the actress. Ann Hathaway besides thought for a long time with the technical teams about style and about keepings of her character throughout two decades covered by the film. "They have to be precisely able to which were Emma's habits at various times of her life, and how it would be translated on the screen, "she says.
"When they interpret a character who is found over several years, it is easily possible to imagine that he evolves significantly, "she still underlines. "In the film, it was necessary that changes are pointed out, but that they remain discreet."
"With the team of the film, I had the feeling that they looked after me permanently, "she adds. "And it really helped me because they didn't turn in continuity and because he even had a day there when four years in one day of filming were covered."ajoute-t-elle. "Et cela m'a vraiment aidée parce qu'on n'a pas tourné dans la continuité et qu'il y a même eu un jour où on a parcouru quatre années en un seul jour de tournage."
"It was necessary to weigh every decision, "she continues. "What are Emma's habits at this or that instant of the life? You should be not only necessary find her a style, but wonder why she had chosen this or that keeping, or what had been able to pass to her by the head when she decided to cut hair."
As for the hairstyle, definite Jim Sturgess: "According to haircut, I succeeded in understanding where Dexter was in his life there. They spent quite a lot of time to perfect hairstyle, making-up and dress keepings of the character before filming, and they have still devoted time to it every day of filming, so that the style of the character is most defined possible."
"I am sure that I am nicer in the role of Dex in 43 years than I will be him in this age myself!", he says.
The leader-costumer Odile Dicks-Mireaux who, with An education, had already worked on a film taking place in several epochs, signals: "I didn't want that they feel seeing a documentary on the evolution of fashion. I was fond first of all that the spectator accompanies the emotional trajectory of two credible characters. But since it wasn't possible to adapt the keeping of our extras every epoch, they were filmed with trousers with pliers, of shoulder pads and of the jeans of colours."
Rafe Spall, who camps Ian, humorist and first boyfriend of Emma, retorts: "I was delighted that jeans Levis 501 are rehabilitated! There is enough detachment in comparison with the nineties to have a true critical look on this epoch, and I think that A day is one of the first films to make it. But it was brilliant to see all these extras dressed in clothes of the nineties."
Leader-costumer quickly surrounded the style of both protagonists. "As Dexter has some money, he buys keepings from fashion. For his/her part, Emma is more complex: at the beginning, she wears clothes a bit gone out of fashion, then when she becomes established in Paris, she evolves. They discussed permanently what Emma liked, and of what she didn't like, with Ann and Lone."
"It was important to have a total vision of the style of the character, and to imagine the clothes with hairstyle and making-up adapted, "she adds.
According to the terms of Nina Jacobson, the hairdresser and make-up artist Ivana Primorac "workmanship perfectly its domain. I was staggered by its capacity to crunch smooth features of a young face, and way this face wrinkles little by little by taking of age."
"It was necessary to take into account the fact that both protagonists are simple people, "asserts Ivana Primorac. "As they have about twenty when they meet them, I wanted especially as the face reflects what they endured, much more that he is dug by wrinkles. Little by little, while they acquire experience, their expressions translate it. I tried to age them very progressively with every year which passes. It was a particularly invigorating job to Dex because its training is sometimes violent."
"With Lone and Odile, they told themselves that it was necessary that they remain objective, even if it is a recent epoch which they remember all, "she follows. "They drew inspiration from cuts and from styles of epoch and they therefore plunged into magazines as Vogue, Blitz and The Face which was then particularly influential. They also viewed on Internet of the photos of people which really existed. I made collages on even the soil to see how to advance. Trials with the actors in costumes and, from there were performed, the satisfactoriest solution was searched."
Ivana Primorac was hit by the concentration of both actors: "When I met them, there was an incredible complicity between them and they had a feeling that they were completely invested in their job. Because what counted with the eyes, it was first of all their characters, and not so much what personally pleased them."
The hairdresser-make-up artist also drew inspiration from the job of the manager of the photo Benoît Delhomme who, she says, "composes splendid plans and brings some change in his palette of colours to the liking of emotions of the characters and the passage of the years."
The film director adds: "Benoît Delhomme immerses itself in the reality of a city enlivened as London and in the unexpected events which happen there. He has an extraordinary visual sense and he can spot the elements which, in plan, have to evolve of summer in other one to mark the time which passes. It was as though a series of short films in the same breath was turned, but the film, in its wholeness, has its own style. It is to a great extent thanks to the capacity of Sanctimonious to keep a new look, even if it has a very big experience of job."
Ann Hathaway resumes: "Even if the film is of a big elegance, what arrives at the characters am outright real. It is the photo of Sanctimonious that idealises every instant."
"[The leader interior decorator] Mark Tildesley also has an incredible look, and I would like that it comes at home to do again decoration because all its choices are astounding!", she cries. s'exclame-t-elle.
For Tildesley, it was a question "of cutting history up in three epochs: beginning, middle and end of period in the course of who Emma and Dexter cross – because, in the opposite, there isn't true difference between two years as 1992 and 1994."
"Lone wished that there are landmarks to identify the characters, "he entrusts. "For example, a mirror in Emma's flat is discovered. She bought it in a bric-à-brac trade, and they realise later that he follows her throughout history. They wanted immediately identifiable accessories and which draw inspiration from characters." The leader-interior decorator became aware that his personal memories sometimes influenced his step. "I was to the university almost at the same time that Em and Dex, and I therefore had the feeling that the time was taken back up. I found old photos to me which inspired me. And sometimes, this made me very odd to come on the decor …" Le chef-décorateur a pris conscience que ses souvenirs personnels influençaient parfois sa démarche. "J'étais à l'université à peu près à la même époque qu'Em et Dex, et j'ai donc eu le sentiment qu'on remontait le temps. J'ai retrouvé de vieilles photos à moi qui m'ont inspiré. Et parfois, ça me faisait tout drôle de venir sur le décor…"
"It is strange to see some aspects of his life reconstructed, "admits David Nicholls. "Student's room of Emma is very close to the one whom I occupied myself, and the worry of the detail and the precision of the team of Mark impressed me."
"If it was fond only of me, I wouldn't get bored with some details which aren't seen in plan, but them don't think as me, "he still says.
The film director called another collaborator of An education, leader-fitter Barney Pilling who, thanks to tremendous artistic connivance between him and Lone Scherfig, could begin assemblage in the course of filming – and to the oscarisée composer Rachel Portman.
Besides the partition of this last, they find in the original band of the songs which marked Dex and Em: it is the musical superviseuse Karen Elliott who orchestrated group. When Elvis Costello saw a first assemblage of the film, he was so moved as he wrote an original song very especially for the film, Sparkling Day. This one is interpreted by Costello and the The Imposters group. "A splendid song, "concludes Lone Scherfig.
The direction of actor:
"Lone told this story with a lot of freshness and sincerity and its direction of actor am extraordinary, "underlines Nina Jacobson.
For Ann Hathaway, "the job with Lone Scherfig is a masterly lesson. She always makes decisions impossible to envisage, that it is about a decor or about a choice of production."
"Lone used me a sad sequence with humour, and one odd stage with emotion, "takes back Jim Sturgess. "She continuously encouraged me to attract new things. I completely trusted in him."
"Towards the middle of filming, I ceased trying to imagine stages, "signal Ann Hathaway. "I tried hard to learn my dialogues and to understand why Emma made such comment at such instant. And I recovered from it in Lone for all rest. They have never got bored thanks to her."
"That's true that no day resembled precedent, "confirms Sturgess. "Lone is undoubtedly one of the most odd persons whom I know. But she is very attentive to each of us on the set. And she could give us landmarks so that they are in this complex history there."
"I wouldn't like to make a film which lacks emotion or humour, and this one is odd and moving at the same time, "underlines finally Lone Scherfig. "Suddenly, I hope that the public will cry and laugh – sometimes at the same time – with Emma and Dexter."
