A Chat With Steve Coogan and Rob Brydon...
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Steve Coogan and Rob Brydon are household names in television and film. They come together in Michael Winterbottom's A COCK AND BULL STORY, a highly ambitious adaptation Laurence Sternes 18th century bestseller The Life & Opinions of Tristram Shandy, Gentleman...
Even the basic story of this film sounds highly complicated how was the idea pitched to you Steve?
Coogan: The original script was only about 60 pages long, it was incomplete. Michael has a strange way of going about films, he schedules them and then just makes it whether the scripts ready or not. He just says were going to make the film, and well worry about the script when it comes to filming. I read the 60 pages and thought if it was anyone else other than Michael Winterbottom doing it I wouldnt have gone ahead and done it. It looked too self indulgent, but I thought that at worst working with Michael it wouldnt be a clichéd film, it would be original and quite different from anything else. And because Id worked with him before Ive learnt to trust him. Ive learnt that working with Michael you have to get used to not being entirely sure what youre doing. Hes not somebody who seems to have any military planning to his films, he works largely on instinct. But I trust his instinct, so thats really why I did it.
Were you worried that it wouldnt work at all?
Coogan: It did worry me slightly. It seemed a bit risky, as it proved to a lot of the funding people who werent interested in putting any money into it at all. They said it was a waste of money, it was self indulgent, no-one cares, and I realised that even the parts of the script that are about Rob Brydon and Steve Coogan arent really just about us. Theyre about other issues; theyre about the amorphous, formless disorganisation of everyones life as rendered through these characters. So I understood the logic to it, but it was very difficult to get off the ground.
How did you deal with the problem of the financiers?
Coogan: Any problem Michael encounters, he tries to turn into a virtue. So for example, I had to visit a financier with Michael to try and get money for the film; I had to perform a bit of the film in front of the financier, like some monkey. I did, and he laughed, and because he laughed he wrote the cheque out. So that became one of the scenes in the film, Michael just thought that was interesting and he put it in the film.
How important is it to the pair you that this film does well in America particularly?
Brydon: From a career point of view for someone like me its just great to be having more than three lines in a movie and be making a bit of an impact in it. Im very pleased because Im doing the humour that I think of as my kind of humour and Im very happy to see that on the screen. People always say America, America; Ive never yet been to America and not felt a bit urrgh about being over there, away from home. Im sure that will change if I had some wonderful offer I think, but there isnt a great hunger in me to go to America I have to say.
Coogan: Ive got mixed feelings about it because 24 Hour Party People was noticed more by the cognoscenti in America than it was here. It got good reviews here but it wasnt really noticed, whereas in America in terms of the film industry at least lots of directors saw that film and then familiarised themselves with my work because they enjoyed it so much. They knew about that before they learnt about Alan Partridge. They asked themselves who this British character was, and it lead to some interesting work over there.
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