Post by sgev1977 on Dec 9, 2022 17:59:23 GMT
A new interview with Sharpe,
www.hollywoodreporter.com/tv/tv-features/white-lotus-will-sharpe-ethan-season-2-finale-interview-1235278162/
I really enjoyed your last feature as director, The Electrical Life of Louis Wain, and remember wondering how you managed to assemble such a phenomenal cast, including Benedict Cumberbatch and Claire Foy in the lead roles. It was your first major feature and, at the time, you were best known for the TV series Flowers. But that cast was off the charts.
The honest answer is: I don’t know. I was amazed as well. We’d think about who we’d ideally like to play this part and I’d send the script off, and write a little note just explaining why I felt like they would be right for it. And so it blew my mind really, not just to have the opportunity with Benedict and Claire, who are both extraordinary, but the supporting cast, which was also lots of people that I have so much sort of admiration for. I just felt it was quite surreal sometimes.
Looking at the projects you’ve directed, like Flowers, Louis Wain and Landscapers, there seems to be a running theme of eccentricity in the main characters. Is that something that you actively seek out in your stories?
I’m probably not the best person to analyze my own stuff. But in the case of Flowers, that was a world that was informed by an author of children’s books, a fairytale, and also, I guess to a certain extent, the psychology of mental illness, whether it be depression or bipolar mania. So that informed the aesthetic and tonal choices of the show. And then with the Electrical Life of Louis Wain, similarly, our biggest influence on that was Louis Wain himself, the tone of his witticisms, the hidden fragilities and the little notes he’d scribble underneath some of his pictures, but also the kind of playfulness and the use of color and patterns. And again, that was quite a psychological film. It’s a film about love and grief, I think. And then Landscapers was a show about truth. It was a show about the unknowability of certain truths and how, depending on who’s telling you the truth and how you sort of receive it, it affects your perception of it. And it was centered around two characters who roleplay around each other and are obsessed with classic movies and old Westerns. So in each case, I was just trying to create a world for the piece that felt like it was in keeping with the emotional landscape of a character, to help you get inside their heads.
The honest answer is: I don’t know. I was amazed as well. We’d think about who we’d ideally like to play this part and I’d send the script off, and write a little note just explaining why I felt like they would be right for it. And so it blew my mind really, not just to have the opportunity with Benedict and Claire, who are both extraordinary, but the supporting cast, which was also lots of people that I have so much sort of admiration for. I just felt it was quite surreal sometimes.
Looking at the projects you’ve directed, like Flowers, Louis Wain and Landscapers, there seems to be a running theme of eccentricity in the main characters. Is that something that you actively seek out in your stories?
I’m probably not the best person to analyze my own stuff. But in the case of Flowers, that was a world that was informed by an author of children’s books, a fairytale, and also, I guess to a certain extent, the psychology of mental illness, whether it be depression or bipolar mania. So that informed the aesthetic and tonal choices of the show. And then with the Electrical Life of Louis Wain, similarly, our biggest influence on that was Louis Wain himself, the tone of his witticisms, the hidden fragilities and the little notes he’d scribble underneath some of his pictures, but also the kind of playfulness and the use of color and patterns. And again, that was quite a psychological film. It’s a film about love and grief, I think. And then Landscapers was a show about truth. It was a show about the unknowability of certain truths and how, depending on who’s telling you the truth and how you sort of receive it, it affects your perception of it. And it was centered around two characters who roleplay around each other and are obsessed with classic movies and old Westerns. So in each case, I was just trying to create a world for the piece that felt like it was in keeping with the emotional landscape of a character, to help you get inside their heads.
www.hollywoodreporter.com/tv/tv-features/white-lotus-will-sharpe-ethan-season-2-finale-interview-1235278162/