Saturday, October 27, 2018

London Film Festival: The Deep Blue Sea (2011)

We're hosting a fundraiser for Unicef UK to mark Tom Hiddleston's birthday. If you are able, please donate! Also, we have prizes!!! The fundraiser closes on February 10, 2019. 


October 27, 2011:

The Deep Blue Sea was chosen as the Closing Night Gala premiere at the 2011 BFI London Film Festival. Joylon Coy, Ann Mitchell, Tom Hiddleston, Terence Davies, Kate Ogborn, Sarah Kants, and Harry Hadden-Paton were just some of the attendees on hand to represent the film at the Odeon Leicester Square in London. 


Tom Hiddleston on the red carpet talking about what attracted him to the project: It seemed to me to be an incredibly intimate story about the nature of love. The fact that love is blind. Love is complex. Love is headstrong, and it can often take you to places you don't expect. 





Sarah Hebron introduced the film, this was her final year as the Artistic Director of the BFI London Film Festival. Tom Hiddleston paid tribute to Sarah and said her owed her deep gratitude for selecting his first film, Unrelated, for the Festival years earlier. 


Prior to the premiere, Tom and Terence joined the Closing Night press conference for the film. 


(1:18) When I first read the script what struck me was how universal but also contemporary the feelings are. I think it's a film about love. It's a film about the complexity of being in love, the darker side of passion. Hester's act of leaving William Collyer, leaving a man who is intensely kind and compassionate and gentle for a man who has more passion but also a greater capacity for cruelty is something that happens every single day whether it's 1951 or 2011. 

(2:57) For me it's the subjectivity of each of their perspectives. Which is that I do think Freddie loves Hester, and I think he means it when he says "I just don't love you in the way that you love me". But it's also because of each of their experiences of life up until that point that informs their openness and their capacity to yield to feeling. I think the reason the relationship between Hester and Freddie can't work is because Hester is on the run from something incredibly repressed. She's inherited the moral code of her father, who's a priest. She has married a judge, who it seems is without passion. Freddie has spent five years fighting dog fights in the skies of London and he has seen death every day. The potluck of all of his friends being shot out of the sky. And who knows who's coming tonight? So, in a year like 1950, all those guys wanted to do after they got back home was to live. To sing in the pub, to play golf, and to drive fast down the great west road. Simply because they felt so lucky to be alive. And so Hester's obsession with him to the extent that she goes to which is to take her own life, to threaten to take her own life, because of this love is something that he can't access. In a way because of his war damage. 

(5:34) I think the cinema differs from the theatre in its capacity to hold silence. I think on stage in the theatre you can't be silent for long because within that silence the play will die. And theatre is an artform that thrives on words and language and argument and dialectic. And cinema is about behavior and feeling and thought. And the expression of thought and feeling without words is, as in life, incredibly moving. 

Tom and Terence photographed by Dave J Hogan for their official London Film Festival Portrait Session. 



Fashion:

For the Press Conference and Portrait Session Tom Hiddleston wore a slightly modified version of this Emporio Armani Fall 2011 crushed velvet suit with a geometric tie. 




Credits: 

Zimbio
The Hollywood Reporter
TomHiddlestonArchive





No comments:

Post a Comment