How did that break down, in terms of division of labour?
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Crispian Mills:It was pretty simple.
Chris Hopewell:He did it all!
I just sat around and drank tea.
Mills:Because we had 28 days to shoot it, we planned as much as we could.
If you work that quickly, its very, very easy for stuff to fall through the cracks.
And it did, there was loads of things that went wrong.
But we were able to minimise it.
Hopewell:And its great to have two minds on it, really.
The fact that we had worked on it, before we started shooting, for three years before.
Hopewell:What did we agree for this bit?
Mills:Theres a lot of nods.
Hopewell:Sign language.
You say youve been working on the film for three years, what was the genus of the project?
He said, Hm, this is a really good character, I think its really funny.
You should turn it into a feature.
So I said, Okay, well, you play the part and well do it!
I dont remember how it happened, it was just very natural.
We all understood each other, and we were all into it for the right reasons.
We just wanted to make the film.
Hopewell:It just seemed like a crazy, odd idea, as well.
Its one of those films where you think God, if this gets made wed be so lucky.
Mills:Its unconventional.
Hopewell:And its very sort of British, and very…
The words that have been used to describe it: odd, eccentric, offbeat.
The oddest words, what do they mean?
I mean, the thing I hate about the film business, is having to pitch your idea.
I love those amazing stories.
To be able to do that for this film is impossible.
People now, even when were doing promotion, ask Whats the film about?
This is a dreaded question.
Hopewell:And Whats the tagline?
But thats the reason theres no tagline on the poster, because we couldnt think of one!
But hes not wearing a duffle in the picture.
Hopewell:My favourite was A series of rants, in a pair of old pants.
I just thought that one up, actually!
How did that pitching process go, then?
Did doors just open once Simon got involved?
Mills:Everyone will talk to you if Simon Peggs going to star in your film.
Hopewell:Or its already been a film!
So because it was a bit of an individual, novel, film, it wasnt easy.
But when you get a name behind it…
Mills:you might talk to people!
But it always comes down to the same thing.
And thats nice, because it can be such an uphill struggle.
Mills:And it was still difficult!
And when you came to actually making the film, what were those difficulties?
Hopewell:Theres a lot of things, from doing music videos, that primed me.
With making these kind of features, thats a really helpful thing to know how to do.
Other than that, its a completely different world.
Its another planet, really.
Its a bloody film!
[laughs]
What were some of the things that were so different?
Mills:You wanna know what were the fuck-ups!
Hopewell:Fuck-ups, wow!
You cant stop it, once it gets going.
Mills:And try not to throw up!
I dont want to wear out the metaphor, but no ones doing this because its an easy life.
Theyve reserved their seats?
Hopewell:And theyre also, if youre lucky, theyre in the direction of travel.
How did that come about?
Mills:It was just really lucky.
Pinewood, theyre like the brand, the old brand.
Theyve been making films for a hundred years, almost.
It was a wonderful experience, shooting at Shepperton, for me especially.
I was just knocking around the sets, looking at what else was going on there.
But then when you think back at whats already been made there, its like, wow!
And Pinewood, they championed this, and all power to them.
Mills:Its lucky.
Hopewell:But theyve got the vision to put the money behind it, as well.
I think that was one of the things weve been saying.
But they had a lot of faith in the project, to have done it.
But its just the way that all the flats had this beautiful, eclectic feel.
The reds and the greens and the yellows.
Be it clothing, be it curtains, be it placemats, whatever.
Keep it very dark chocolate brown, or very light, mustard-y yellow.
Mills:Chris will get erotically charged by discussions of mossy greens.
But the thing is, its so important.
And this was a rather low-budget film, are you saying how much it came to?
Mills:Its like two, two and a half [million].
It looks like a proper fantasy!
Did you tailor the script for the budget?
The first half is mostly just Peggs character in his flat.
And then, as it expanded, it was just driven by the story.
Hopewell:Its not one of the things that we talked about Could we afford that?
Mills:But instinctively, you know what you could do.
Hopewell:Yeah, I know that, having run my own company for years.
You self-edit anyway, when youre thinking about stuff.
No, there isnt going to be a zeppelin shot in this.
And there isnt going to be an underground sewer cable-car ride.
Then it relies completely on the acting and the photography.
This was a real opportunity to do something really quite cool.
To finish, I think the film calls for the following question.
What is your personal greatest fear?
Mills:Im not afraid of anything other than spiritual annihilation.
Where your soul is sucked into the void.
Its like a trick, dont go down there.
Its like a red herring.
you’ve got the option to still have an exchange of love.
Because if you just become one with the light, who the fuck are you gonna love?
Youre just disappearing off into your own spiritual navel.
Hopewell:Mines very physical.
Imagine drowning above a Pacific trench, and you would just keep sinking and sinking.
It would be horrendous!
Gentlemen, thank you very much for your time!
A Fantastic Fear Of Everythingis out on the 8th June in the UK.
