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The exotic
Italian town of Genova provides a fresh start for Joe (Colin
Firth) and his two young daughters: a family seeking new lives after
the sudden death of their mother. Kelly, the 16-year-old, explores the
sexy and dangerous underbelly of this mysterious new world, while the
youngest, Mary, has just seen the ghost of her mother wandering the
streets. A poignant tale of love and forgiveness and a contemporary
family ghost story.
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Colin Firth
Joe
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Catherine Keener
Barbara
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Hope Davis
Marianne
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Willa Holland
Kelly
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Perla Haney-Jardine
Mary |
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Production Stills
(7/24/08)
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Michael Winterbottom on Genova
(Film4 feature by Holly
Grigg-Spall)
The acclaimed British
director Michael Winterbottom made his latest feature in the Italian
port city of Genova. In his trademark intimate, naturalistic style,
he's created a portrait of a family's struggle to overcome their grief.
Father Joe, played by Colin Firth, takes his daughters Kelly (Willa
Holland) and Mary (Perla Haney-Jardine) to Genova in the aftermath of a
car accident in which their mother died. As they settle in to a new way
of life for the summer, we follow the individual journeys they take
that will eventually bring them closer together.
When you
first considered making Genova, what came first—the location, or the
story?
Before I began working on the
script I was in Italy and saw Genova so in a way that came first. Then
I went back a couple of times while I was working on the story.
What was
it about the city that appealed to you for this film?
Genova is a big modern city,
with a big industrial centre and ports. So it has a lot of energy. It
also has a large medieval old town that's very crowded. There's this
maze, like a labyrinth, of alleyways and it feels like its not been
changed much over centuries. When I was there I was considering that
there might be a film we could make.
Did you
feel the city reflects on the emotional journey of the family?
The characters in the film
are emotionally lost. They're on their way to starting a new life and
struggling to come to terms with what has happened to them. As they
wander around the alleyways of the old town, the maze is a physical
version of what's going on mentally and emotionally for them.
Was it a
challenging city to work in?
As you'd imagine it would be
enjoyable to make a film in Italy and it was. We were a very small crew
so we weren't trying to control the whole of Genova. It was a bit of a
summer holiday really—a summer holiday making a film.
You
usually work with a small crew to keep the pared down feel of your
films. Did you work similarly on Genova? And do you find new, smaller
camera technology advantageous to creating this feel?
We had a technical crew of
half a dozen people who would be on set, then maybe 20 people in total
working on the film. For me it's more enjoyable to make a film as
simply as possible. Different stories require different methods, but if
I can treat a story simply then I will. It's a choice you make about
how you want to work.
I like the idea of taking
actors into real situations and letting that real situation continue—having fictional characters in a place
with real life going on all around them. To get that you need to use a
small crew. You can't take tons of people into a place and expect
everyone to carry on as if you're not there.
I started learning about
filmmaking from watching old films like Breathless. In 1960 the camera
was probably huge, but you feel there's a sense of people going out and
having fun, going out and enjoying making a film. They filmed the
actors walking down the street but there are people passing by, looking
into the camera, who are clearly passers-by. There's a sense of freedom
and of ease.
How did
you help the young actress Perla Haney-Jardine understand the emotions
of grief and guilt you needed her to show?
Everyone's different so you
have to try and work with the individual. None of the actors were first
timers. Perla was probably more relaxed and more happy with
improvisation than Willa—she'd get the idea of a scene and go with it.
There's no good or bad way to do it, it's just what people choose. Some
people like a framework and some people like to have more space.
Did the
cast spend much time in Genova in preparation before the shoot started?
The film is set in the month
they arrive, before they start this new life. It's a limbo time for
them between America and Italy. We didn't need a lot of preparation—in a way it would have been the wrong
thing to do, as we wanted to catch them as strangers in this place.
They were supposed to be fish out of water, not knowing Italian and not
knowing Genova, and they were like that anyway. We tried to film it in
sequence so the people would get to know each other and gradually get a
bit more relaxed as time went on.
When you
were filming in the busy bars and on the crowded beach, how did you
work with the people?
Normally we'd just put the
cast in a real bar. But this time sometimes we would let people know we
were going to be there, that we'd be filming. It was a slightly more
controlled version of what we'd do normally. We weren't surprising
them. On the beach in the daytime we rented just the four seats we
used. There were around 10,000 people on the beach that day so we
couldn't possibly control that.
When the
film comes to an end, it seems as though it could have gone on. How did
you choose to stop there?
We weren't sure from the
start how it should end. All the way through you have anxiety for the
family, that something might happen to Mary in particular, but also to
Kelly or Joe. You wonder if Joe will be punished for not looking after
his children properly. Or if Kelly will be punished for getting into
drugs and sex. You worry for Mary as she feels guilty about her
mother's death. But something has to happen to end the story. We
thought they should find some way of getting over the death of the mum.
I think the narrative of anxiety keeps you watching, and then there's
relief.
How did
you come to choose Colin Firth for the role of the father?
Colin is an idealized version
of an Englishman. I liked the idea that the father would be English and
the children American, so there'd already be a displacement for him -
he'd already have left home in his life. When his wife dies, it's
natural he wants to leave America as that place is solely for him where
he lived with his wife.
The film's about home in the
broader sense. They're isolated in this new country, away from friends,
from what they know, and that could hide the family connections. But in
the first month they're more around each other than ever before.
Colin seemed to make a good
academic, a good dad. He's old enough to be their dad but could have a
romantic past, or a new romance. And he's incredibly likeable. I wanted
all the characters to be likeable. I wanted you to like them and want
them to survive somehow.
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From IndieLondon interview with Michael
Winterbottom
And what is the next film?
Michael Winterbottom: We’ve just been filming in
Italy, so it’s set in Genoa and Colin Firth is playing a British guy
who has been living in America for 20 years. He’s got two daughters,
who are 12 and 15, but they’ve been in a car crash with their mother
and she has died. It starts just after that, as they leave America and
go to Genoa for a year, where he will lecture in university. But
they’re sort of in limbo—they’ve left America and their friends
and
they’re waiting to start their new life in Italy—it’s August and
everyone is on holiday, so they have a month before they start just to
hang out in the summer. Basically, it’s about three people in limbo
before they start their new life.
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Rapid response unit
(Guardian, Sept 14, 2007, by Andrew Pulver)
Is Michael Winterbottom
a machine? He's now on to his 10th
film this decade: you've got to admire the workrate. Last year he made
Road to
Guantánamo; the year before A Cock and Bull Story. This year's
effort, A Mighty
Heart, is about to come out the UK; and he's already halfway through
his next—a strange little ghost story set in the
Italian city of Genoa, where he's spent
most of the summer...Where, you have to wonder, does he get the energy?
"We
made a conscious effort to keep things as simple as
possible," he says. Winterbottom is sitting around waiting to begin a
night shoot in Genoa....
So here in Genoa,
the smallness of the crew is everything. Deep in the city's old town,
wedged in
a maze of medieval alleyways, the production has taken over a flat for
the
purposes of the evening's shoot. And by the standards of a film set,
there is
hardly anyone here. The cameraman, Marcel Zyskind, sets his own lights,
free of
the usual squad of riggers, electricians and cablemen. There's someone
with a
microphone and tape recorder, a couple of people dealing with the
actors'
costumes and makeup, someone else looking after the props. A few others—sensible-looking people in their 20s,
mostly—are waiting tensely out on the
stairwell in case they are needed: perhaps to be sent off to look for a
bar or
cafe that might be used in the next day's shooting. (Pretty soon you
realise
that everyone appears to be on a neverending quest to find places they
can
film, Winterbottom included. This is not a production so flush with
cash that
they can simply go in and rent where they feel like.) The scene
Winterbottom is
shooting involves his lead actor, Colin Firth, thundering into his
small
daughter's bedroom; why, he wants to know, has she been scribbling
endless
pictures of her dead mother?
On set,
with the camera turning over, Winterbottom is
suddenly a very different figure. The affability has pretty much
disappeared;
there's no mistaking that he is entirely focused on the task at hand.
In a
small but telling indication that he really wants to keep on top of
things, he
has—rather remarkably—a small monitor strapped to his hip. It
shows how he
has harnessed technology to allow him, literally, to stay light on his
feet.
All the cumbersome procedures of the conventional film set have been
jettisoned; and the actors, in particular, really like it.
Firth, who himself is fitting his work on Winterbottom's
film around shooting scenes on a much bigger-budget number, the
adaptation of the
Abba musical Mamma Mia!, is unabashed in his appreciation. "He makes it
seem like the most obvious way to work of all," he says later. "I
appreciate that it is a very tiny unit, and it means everyone is at the
heart
of the process. You're in touch with the decisions and what's going on.
You're
part of it in a way that in conventional films is just not the case.
For very
obvious reasons, there are obstacles in 'normal' film-making: you spend
hours
waiting for the lighting and the rigging and the setting-up; then
you're
brought in to make your contribution in very minute pieces and out of
sequence.
Most actors will tell you on a film like that you're struggling to be
where you
should be. The waiting has the effect of sapping the energy. It drains
you."
As the man at the sharp end of things on Genova, Firth talks
through Winterbottom's on-set techniques. Rehearsal is pretty much
dispensed
with, says Firth—admittedly not especially uncommon in
cinema, where
freshness is all—but Winterbottom never does a second
take of the same shot;
when they go through a scene a second time, he always shifts the
camera's
position. The camera, he says, is also turning over from virtually the
second
they arrive in any given location. "He doesn't say 'action'; he doesn't
say
'cut'; he'll just catch your eye and give you an indication that they
are
rolling." Nor, it transpires, is there a continuity person around to
keep
track of what's happening, which means matching shots in the
conventional
matter is virtually impossible. Hence the apparently casual,
semi-random
editing style Winterbottom has developed; as much a question of
necessity than
any aesthetic affectation.
If digital
film-making
has helped Winterbottom establish an
extraordinary level of productivity, it's also helped him extract
natural,
unforced performances from his cast. That skill became crucial when
Winterbottom turned to using non-professional Afghan refugees as the
cast for
his most radical experiment in stripped-down, on-the-move film-making,
In This World.
on which he achieved rarely equalled levels of naturalism...
Genova lacks
the Hollywood
money of A Mighty Heart, but you sense that parsimony is a deliberate
choice:
with more money comes more interference, and the consequent evaporation
of
control over what you do. Winterbottom returns to the theme: "With
digital, if you have the gear, then costs virtually disappear. Look at
9 Songs;
we made it all ourselves and hardly spent anything. But there's still a
problem
after that; getting a film into the state where it's ready to show in a
cinema
is still really expensive." But it has its compensations. As the sun
goes
down over the Ligurian hills, there's no doubt that, after the rigours
of the
Middle East, Winterbottom and Eaton are enjoying their time in Italy.
Is this
a film or a holiday, I ask. "The cat's out the bag ..." Eaton says.
Winterbottom giggles. "We're trying not to let anyone know. The last
two
films were in Pakistan
and Afghanistan,
so
we thought, it's a reward."
· Genova
will be
released next year
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Michael Winterbottom on "A Mighty Heart"
(EDGE Boston, Jun 19, 2007,
by Kilian Melloy)
EDGE: What are you working on
as your next project? Will you return to this genre of drama based on
true events, or will you do something more light-hearted, as you did
with Tristram Shandy, or will you look to do something in a different
genre?
Michael Winterbottom: What
we’re doing right now is a film in Italy called Genova. It’s a story
about a British guy who’s been living in America for twenty years, and
his two daughters who are Americans, because they were born here. They
go over to Genova for a year. [The film] just takes place in August;
they sort of arrive in the heat of August, and the place is empty
because everybody is on holiday. It’s a month in limbo before they
start their new life in Italy. We’re about to start filming [that] in
two or three weeks’ time.
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Firth, Davis and Keener In Michael
Winterbottom's "Genova"
(5/18/07: indieWIRE, May 18,
2007, by Peter Knegt)
Michael Winterbottom's follow-up to "A Mighty Heart," Film 4 backed
"Genova," has confirmed Colin Firth, Hope Davis, and Catherine Keener
as its stars. Relative newcomers Willa Holland ("The O.C.") and Perla
Haney-Jardine ("Spiderman 3") will co-star. "I am very excited about
working with such wonderful actors in such a beautiful city," said
Winterbottom. "It is a story I have been working on for a while."
Shooting is slated to begin at the end of June on location in Genova,
Italy, as well as in Boston, Massachusetts.
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Keener, Davis join
Winterbottom pic
(Variety, May 18, 2007, by Adam Dawtrey in Cannes)
Catherine Keener and Hope Davis have joined the previously announced
Colin Firth in the cast of Michael Winterbottom's next movie, "Genova."
Pic, an emotional ghost story, is financed by Film4, the U.K. Film
Council and Aramid Ent. It will also star newcomers Willa Holland and
Perla Haney-Jardine. Shooting starts in June, on location in Genova,
Italy, and Boston. Dreamachine is handling sales.
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HanWay + Celluloid Dreams =
Dreamachine
(indieWIRE, Apr 3, 2007, by Eugene Hernandez)
The compay also announced that it has concluded multiple international
pre-sales on...Michael Winterbottom's "Genova" with Colin Firth,
Katherine Keener and Hope Davis..."
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Feeling the Squeeze
(Screendaily, Mar 16, 2007)
"To be honest, it hasn't been too bad for us (with Michael
Winterbottom's Genova)," says producer Andrew Eaton, co-founder of
Revolution Films. "We don't shoot until the summer and so we have had
quite a lot of time on our side. I think we've got the finance back in
place. The ones that are financially viable will find other funds. We
got a lot of offers from other funds and quite a lot of offers from
equity funds in America."
Funding for New Firth Film Hit by Tax Clampdown
(Screendaily, Mar 8, 2007)
Actor Colin Firth's new film GENOVA has lost GBP500,000 ($975,000) in
funding after a tax clampdown by the British government forced
investors to pull out. The Michael Winterbottom film GENOVA is the
second major casualty of the new restrictions introduced by the Labour
government last week (02MAR07) - which mean movie investors are no
longer able to offset losses against tax. The British Treasury
yesterday (08MAR07) stated they would allow films close to finishing
development to continue as planned. However, projects not already in
production after 1 January (07) were subject to the clampdown,
resulting in the withdrawal of large investments from individuals and
private companies. But Genova producer Andrew Eaton is confident he
will be able to recover some funding from other sources. He says, "We
were lucky in that filming wasn't due to begin until July so we do have
time to plug the funding gap."
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Firth to star in Winterbottom pic
Ghost story 'Genova' set to
shoot next spring
(Variety, Nov 1, 2006, by
Adam Dawtrey)
Colin Firth will star in Michael Winterbottom's contemporary ghost
story "Genova," set to shoot next spring.
Firth plays a recently widowed man who travels to Italy with his
teenage daughters in search of a fresh start, but cannot escape the
ghosts of his past.
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HanWay takes on sales for
Winterbottom's Genova
(Screendaily, Nov 1, 2006, by Wendy Mitchell)
HanWay Films has acquired worldwide rights outside the UK for Michael
Winterbottom's forthcoming Genova, which now has Colin Firth attached
to star.
Winterbottom and Andrew Eaton's London-based production company
Revolution Films is producing with co-financing from Film4 (which holds
UK rights). Winterbottom will shoot the project in spring 2007 on
location in Italy with post-production will follow in the UK....
The script is written by Winterbottom and Laurence Coriat, his
collaborator on A Mighty Heart and 1999's Wonderland. The story follows
Joe (Firth) and his two young daughters who move to the eponymous
Italian town to get a fresh start following the sudden death of their
wife and mother. The elder sister explores the city's underbelly while
her younger sister claims to see her mother's ghost. Casting hasn't yet
been announced for the two girls.
It's the first time the London-based sales company has worked with
Winterbottom, whose previous films have frequently been sold by The
Works. "We've always wanted to work with Michael Winterbottom and
Andrew Eaton and we are thrilled to be involved with such a
heart-warming, cosmopolitan story," said HanWay CEO Tim Haslam. "We're
confident it's one which will resonate with film-lovers around the
world."
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