Subscribe Online  

Michael Winterbottom on his five year shoot for Everyday

Michael Winterbottom on his five year shoot for Everyday
News
Staff Reporter
31 October 2012

Director Michael Winterbottom has been talking to Channel 4 about his new feature Everyday, where he spent five years shooting four children for a film about a family with a father in jail. The feature stars John Simm and Shirley Henderson as the estranged couple.

Winterbottom filmed on location at the children's house in North Norfolk and at their schools: shots of lunchtime football, carol concerts, the morning drop-off, the afternoon collection. He also shot in prisons.

Working in real time, over five years


“The starting point was to try and deal with time passing in a story. So when I went to Tessa Ross [Channel 4's Controller of Film and Drama] to try and persuade her to give us the money, that was the initial premise.

“A lot of films deal with stories that take place over a long period of time: I've just done a film now with Steve Coogan about Paul Raymond which goes from 1958 to 1992. But you tend to do it with very conventional techniques. You're still making it over a period of seven or eight weeks, you're still packing it in, so it's all done with wigs and make-up. So with children especially you end up having different children playing the same role. It's very unsatisfactory.

“This is a film about how the relationship between children and their dad can survive a long separation, how that effects the relationship with their mum, and the relationship between the mum and the dad. And rather than do it in six weeks and try and fake it all, we did it over the same length of time that the story is supposed to take place [five years].

“It's so easy to get bogged down in the idea that this is how you make a film - you spend two years working on the script, do four months preparation, do two months shooting. I think it's good to get away from that way of thinking. The way you make a film affects the film you're making, so if you can have a fresh approach to the way you're making it, that's good. You have to tailor the way you make the film to suit your story.

“When you start off making a film like this, that is almost entirely improvised and filmed over a period of years, do you have an idea of where the plot will go and what will happen, or do you let it evolve organically?

“The original idea for this was that the couple are apart for five years, and at the end they're still together. It's a love story. But that's always provisional. The initial idea was also that there would be a little boy who would start to grow up to be like his dad. And that became four children, two boys and two girls. And after a couple of years, we realised how long a couple of years feels. And we felt that, to be fair to the situation, after that long, there should be someone else, another guy, who figures in Karen's life. So at that point it wasn't absolutely clear how it would go. We liked to make John as nervous as possible about which way it might be going. We kept him as much in the dark as possible.

“Filming it over five years made you aware of how long five years is, and if you are apart for all of that time, it must be incredibly difficult to go all of that time without having some sort of relationship, whether it's sexual or whatever, but just a relationship to fill that gap.”


Filming in the right place at the right time


“I always like to film in the right place and at the right time. If you're filming a breakfast scene, it's always easier to film at breakfast time, if you're filming a pub scene it's always easier to film at night. Lots of films don't do that. But I think people behave differently under different circumstances. Obviously when you're improvising it's more important, and when you have kids it's even more important again.”

“So with the children, although they're acting, the more it's natural and organic and they're responding naturally, the better. So it made sense to film in their house, it made sense to film in their school. The children were great. Very quickly they worked out the mood of the scene, and responded accordingly. Say Sean was crying, he'd do it once, maybe spontaneously, but then he'd know that he'd have to do it again for the next take. So it was a weird mixture of them being natural, but still being aware of the framework of the fiction that they were trying to be natural in.”


Finding the children who star in the film

“Melissa Parmenter, the producer, and Wendy Brazington, went and looked at various schools in the area [North Norfolk]. So they toured lots of schools, and I then met a shortlist of about ten people. And we weren't looking for four children, we were looking for one or two, but they came as four. And we were lucky that the parents were happy - they've been great all the way through. For the parents to commit their children for five years, and their house, was a big commitment. And the school committed to it as well.”

“The reverse of that is that, when I've worked with children before, sometimes you feel that plucking a child for several weeks, taking them to a film set, making them little stars for a few weeks, you're not necessarily having a very good psychological impact on them. Whereas in this case, it's been five years, filming a few times a year, in their own home and their own school. I think the fact that this was a long-term project has been a better arrangement.”


The logistics of filming a few times a year


“We had to work around people's dates, and there were times when we couldn't make it. But luckily, with the kids being based there, they were available the whole time. My dates were pretty easy - if you're doing a film a year, you're only filming for seven or eight weeks, so all the rest you can manage.”


Filming in prison, the bureaucracy


“Firstly I should say that we were very happy with the co-operation we got, both from the Home Office initially, and then later on from the individual prisons. Obviously it's difficult - there are issues about privacy - you can only show prisoners who have agreed to be shown. We tried wherever possible to use prisoners and their families for the visiting scenes, although that's not the case with every one of them. And just getting in and out of prison takes quite a long time.”


Working with John Simm and Shirley Henderson

“I've worked with Shirley a lot, I've worked with John, they're both great actors, and I thought they'd work really well together. Whenever I can work with john and Shirley, I will do. In a way this was a bit of an echo of Wonderland, which was the first film I worked with John and Shirley on. That was a family in one weekend in London, this was the same sort of family relationships, but spread over a long period of time.”


The contrast of shooting rural scenes and prison scenes

“Any situation that has a difficult subject matter like this tends to focus on urban deprivation. Clearly that isn't always the case - not everyone in prison comes from that background. I liked the idea that it was a rural story. The landscape punctuates the rhythm of the film, because prison is so confined, but also all of our story takes place in quite confined spaces - in the house or in school, or prison. And the space there, where we were filming, sort of serves as a counterpoint to all of the confinement. And I like Norfolk as well - I have a place up there and I've filmed up there before. And I liked the idea of it being in the film to emphasise Ian's loss of that space and freedom.”



All comments
Elaine
Elaine  | November 2, 2012
I saw 'Everyday' when it premièred at the BFI Film Festival and I have to say that I think it is a beautiful and thoroughly engaging film; it has a docu-drama feel to it in a way but the performances from the cast and Michael Ryman's beautiful score keep you feeling almost like a participant rather than an observer; the minutiae of everyday life for an estranged family might not sound exciting when compared to the all-action blockbusters which seem to be the staple fare of most cinema audiences nowadays (nothing wrong with that of course, but it is nice to have something different every once in a while!) but they are fascinating and in 'Everyday' everything feels so natural and unforced that you actually forget that the main cast are actors playing a part... the close up camera work and natural silences where people just get on with what they're doing all help bolster that illusion.

If I have one complaint (and it isn't really a complaint because what we did get was pure quality – as we have come to expect from John Simm) it is that we could have perhaps done with seeing a little more of Ian's everyday routine in prison - apart from the scenes leading up to and after each visit and a few almost painful phone conversations where you can see that he wants to say so much but is thwarted by both distance and time and the desire to just listen to his children’s voices... the bulk of the film is seen through the prism of Karen and her children's experiences. We saw with at times heart-breaking clarity how Karen and the children coped (or didn't) with the lack of husband and father – but I feel that perhaps we didn't see quite enough footage of Ian's day to day coping (or not!) with his imprisonment and loneliness as he misses his two youngest children’s formative years. I’d be interested to know how much footage might have been filmed but edited out – perhaps enough for a ‘Director’s Cut’ DVD?!?

That said, I adore the film and can't wait to see it again on C4 on November 15th!


















Televisual Media UK Ltd 48 Charlotte Street London W1T 2NS Tel +44 (0)20 3008 5750 Fax +44 (0)20 3008 5784
©2009 - 2013 Televisual. All rights reserved
Use of this website signifies your agreement to the Terms of Use | Disclaimer