Jeremy Northam's An Enigma Himself
an Emily Blunt interview
I loved Enigma.
In it fabulous actor Jeremy Northam (you know him you just don't know you know
him) played snooty spy catcher Wigram to a highnoon tea! So, when I was asked to
interview Jeremy, I was happy to make room in my terribly busy chickbabe
schedule.
Good things happen to those who follow through. Turns out this Jeremy fellow is
incredibly charming, handsome and has that sexy smirk that makes one forget your
at a fancy hotel with witnesses. To say he's good-looking is an understatement
of great proportions is all I mean. Hmm, I wondered if he'd read the review and
wanted to explore his description....meow.
Alas, I was professional and dutifully asked all the questions needed to expel
his way of working his craft. Jeremy's a phenomenal actor. Trained in theater
and spread out into film. He's picky and his work shines for it! Still he's in
everything (Wuthering Heights, Gosford Park, Mimic, Happy Texas...) like that
brilliant Alfred Molina chap—look close he's there. He has that patented
upper-crust British facade complete with nobel accent...one expects him to have
to dash off for a fox hunt or some such poppycock.
Anyway enough babble on to Jeremy....dreamy delectable Jeremy ( I think I'm
smitten folks). On with the interview.
EMILY: You
look nice and tan. Where have you been? [I said wiping the sweat from my
brow...]
JEREMY:
Probably makeup.[laughter]
Probably residuals from the interviews this afternoon on TV. [laughter] No, I
grabbed a holiday in about, where was it? Feels like ages ago, it was in
February. Then I was out here for about three weeks, and it was, you know, it's
nice to have the sun on your face.
EMILY: Where'd
you go on holiday? [thought but not spoken: so I can book a room conveniently
next door next time?]
JEREMY:
Jamaica. I read about this
hotel that was great, down in the south of the island, not in a touristy area. I
had no particular desire ever to go to Jamaica, but I thought, what the hell?
Sounds nice. Let's go!
EMILY:
[visions of him in the surf start to blur my thoughts...] You play a great
spectrum of characters. What is it about Enigma and this chap Wigram that made
you want to get involved?
JEREMY: It's
a fantastic part, I think I'd have been a fool not to spot that off the page.
It's just a great part, a very smart movie. There aren't many movies around that
have the ambition of this movie, that kind of hold their audiences' attention
and challenge its intelligence, to mix you now a good dollop of history with
romance and throw in a whodunit all rolled into one.
EMILY: Did
you have have family or friends who were associated with WWll?
[thought but not spoken: and if yes, do you have pictures of the male relatives
in those adorable RAF uniforms?]
JEREMY: Yeah, my dad
served in the Air Force as ground crew for several years, and doesn't really
talk about it. I know that it's there. I think my main thing about direct or
indirect experiences as near to home as it were is the idea of self-sacrifice
really. I was born in 1961. Now I think the 16 years that elapsed between 1961
and the end of the wars is nothing. To a child growing up it felt like an
eternity, an entirely different world. And it's taken me longer still to realize
what a short span there is between those life experiences and the rest of your
life. That's a job for the people who lived through it. It's strange growing up
in a very, well in retrospect it's strange growing up in a
very peaceable,
comfortable, nonbellicose environment, unthreatened environment. While that had
been was not present there, not long before. And so the idea of people disowning
other aspects of their lives or ordinary people, everybody putting themselves on
the line in one form or another for a common fight I suppose, that meant a lot
to me. I find it hard not to separate it from the political because the end of
WWII in the UK we voted in our first, well, it was a major Labor government for
the first time with a huge mandate to really change things to cause the
foundation of the welfare state and many of the
things that are still held
dear in the UK despite all the changes that have occurred in the last 60 years.
National health service, education system, social security system, which seem to
at its best, include everybody and support the idea of society which during, you
know, the last 20 years or so has steadily been in decline, so it's uh, it's had
a… I think the knock off from WWII has a very large impact.
EMILY: Before
the film, how familiar were you with Bletchley Park? [looking into his manly man
eyes I started to drift with the beautiful lilt of his voice...]
JEREMY:
Not particularly. I mean
David Herr had done a tv film, set at Bletchley Park with various things and a
little bit about Enigma the machine. Of course as soon as he starts, as soon as
I read the book and read the script and you couldn't stop seeing it everwhere.
They was a very good Channel 4 series of documentaries called "Station
X" which were full of firsthand accounts from people who worked there.
EMILY: Is
Enigma the British answer to U-571, were the Americans were the ones to do
capture the infamous Enigma machine?
JEREMY:
I've still never seen
U-571 and there was quite a brouhaha about it, and it was very funny because
there's a very good news radio program on radio 4, the BBC, in the morning
called the Today Show and they cover all this major political and world events
in the first couple hours of the day, and there was this ongoing debate about
U-571. And so they got the son or the grandson (it's the son, isn't it?) of the
commander of HMS Bulldog which is the ship that actually did bring the sub to
the surface and first found the machine. Actually the first one ever captured
was captured by the Poles, and the interviewer said to the son of the commander
of the HMS Bulldog "What do you think about this?"
And he said "It's a
rather blasted… I think it's a lot of bloody nonsense, actually. I don't see
the problem with it. Everyone knows that fact and fiction are two totally
different things. Everyone knows what happened factually and knows my father's
involvement with all of this. And what they've done with this
movie is what Hollywood has always done, just telling a ripping good jar."
It's funny because so many movies know have this thing, this writer that says
"based on a true story" and it's funny because it opens up a whole can
of worms really,
because the next question is "how much? What part?" And you know, you
could say of this film that it's based on a true story. Well, the romance
element of it and the suspense element, there might well be some evidence of
that. That seems to be irrelevant. Surely the job of fiction is to actually tell
the truth. It's a paradox that's at the heart of any kind of torytelling. All
the great novels, all the great films, all the great dramas are fictions that
actually tell us the truth about us or about human nature or about human
situations without being tied into the minutia of documentary events. Otherwise
we might as well just make documentaries.
There's so much of, it
could have been a very critical examination of what happened, and really the
emotional lives of the people involved sort of carry the characters forward.
Talk about really having to design that. Where you went to the interesting
aspects of what Wigram was all about, and the relationship to the kind of story
that you wanted to portray among each of the characters.
Sorry but that's not
really for me to say, I'm just a hired actor who was hired for a particular job,
but I think one of the joys of reading the script was the way that the personal
and the global are woven together. And the tricky thing in the film of course,
where you see it's not for me to say, is the connection of those two things. The
Enigma machine lies as a sort of metaphor for that, for the complexity of both
situations, and the film also has to explain the ferocious complexity of the
machine itself. It's always a very hard thing to portray genius and complexity
in the limited scope of the movie, but I think it makes a really good effort at
doing that. I think it explains many things about the workings of the machine
which, just watching, in the course of watching the film and understand, start
to grasp what you wouldn't understand necessarily if you read a book or watched
a documentary about it. It's carefully leading you through.
EMILY: You're characters
always harbor a wee secret it seems...even in Winslow Boy. Do you look for
these?
JEREMY:
I always try and look at what the function, it's very boring answer, but it's
true. I always try and look at what, you know, your job is as a functionary of
telling the story; as part of a cast, as part of an ensemble that tells the tale
collectively. And I never want to sort of put all the cards
on the table all at once, because that's somehow...there's always a journey to
go on. There's always something to be revealed, in my mind, about characters.
And so, well, with this part for instance. There's a lot of bullying to do.
That's his job, is to put pressure on our hero. I just felt it was more
interesting to play him as a sort of bad guy to start with. It doesn't say
"play like a bad guy" in the script necessarily, but I think we'd all
say that best suited the shape of the part and the shape of the film so that
only, it's late on when you understand that he has his own duties and
responsibilities that have been compromised by the potential leak at the Park
and his mistake in the
past. And the implications of those things on a global scale. Then you start to
have, maybe if you have any sympathy for Wigram at all as a character it will be
then, but it's quite late on.
EMILY: Did
you see the sinister part of Wigham when as you first read the script? He
reminds me of Michael Palin's More Ripping Yarns characters.
JEREMY: [laughter]
I think he was written, he has such a patronizing tone and manner, and such a
sarcastic sense of humor. I found him rather brutal, a kind of elegant brutality
which appealed. No, I think he came pretty much off the page.
EMILY:
[again his beautiful befuddles me...I gather myself] Now Michael Apted said a
lot of the people from Bletchley Park opened up and let the actors come
interview them. Did you do that?
JEREMY:
I didn't, but then I
wasn't involved with the code breaking, literally. I mean, I would have loved to
have met some former spies, but they don't readily advertise themselves unless
they're not living in Moscow, and even then. I'm sure I've met some without
realizing it. And it's funny that you,
that the sources, the things that sort of got into your mind that resurface
later without you realizing you have absorbed them. I remember years ago going
on holiday to Italy with a girlfriend of mine, and we hopped around from place
to place, and on a wet Saturday morning found ourselves at a place called San
Phillip Margerita Ligura
Riviera and we didn't realize it, but it was a major port that we'd gone through
and it was a very industrial place and it was a dull grey Saturday, so we went
to a bar to think what to do next. We were having a coffee and this voice from a
corner said "Go to Rome." He's got his collar up and the white hair,
and we started talking to him and he said "Just
pop down the road, get on a train, take you four hours. It will be fine.
Marvelous. Go to Rome." And we started talking and I asked him what he did
and he said "I am being posted throughout the world. I work for the British
counsel." And he probably did just work for the British Counsel, but there
was something, you know, you could construct a whole world around this character
who just happened to be sitting eavesdropping in a bar.
EMILY:
So you called upon this fellow to create Wigham?
JEREMY:
Yeah, and those
politicians I've seen on TV over the years.
EMILY: He
had a smirk, like maybe James Bond.
JEREMY:
[laughter] No, no, not
James Bond.
EMILY:
Well, I mean, you're British. [in thought only I thought: and gorgeous, and
adorable, and sexy like the Bond boy]
JEREMY:
[laughter] And so is he!
EMILY:
But he's the quintessential British spy!
JEREMY: Again,
not consciously.[laughter] No, not consciously. I didn't refer to... I remember
I don't know probably more than,what I'm saying is... goodness knows what one's
influences are. I think one probably absorbs things like a sponge and things
emerge without your always being aware of it. I remember at Sundance when we
first showed this year before last, somebody said "the guy in the purple
sweater, I can't remember his name, how many Cary Grant movies did he watch
before he did this?" I don't think there's a slightest resemblance. I don't
talk like that, and I don't look like him and I don't perform like him.
EMILY:
[Jeremy, Jeremy Jeremy] Speaking of spys would you want to inherit the James
Bond gig?
JEREMY: It's
funny, it's one of those things. Years and years ago, when everyone knew that
Pierce was going to be doing the job, they started selecting new people. I had
this bizarre thing when I hadn't done many movies, and of going on for an
interview. But it was one of those things were you, 10 seconds into the
interview, there's nothing to say. They have nothing to say to you because
you're quite plainly not appropriate for the role, and I sat there grinning like
this because I still felt like the 10 year old that I was when I first saw a
James Bond movie, not believing that… well, it's just weird and bizarre.
[laughter] And that's, somehow it was reported in the press that various people
had been seen for the part and then it goes into the system and then it sort of,
you know, I read to my disbelief I think the last week we were shooting Enigma
that one of the papers had rung up
the bookmakers and got
various odds on who was going to play the next James Bond. And I was somehow in
this list. No one's ever approached me, no one's ever talked about it, you know.
It's something that…
EMILY:
It's a compliment...
JEREMY:
Oh right, and I take it as
such. Thank you. All I'm saying is that it's a rather confusing state of
affairs.
EMILY: [state
of affairs????How sexy is this guy's wording?] You volley between big budget and
small British film...why?
JEREMY:
No rhyme or reason. Just
as this, you're getting a slightly odd perspective, because the way in which
things are released, we made this two years ago. Straight after this I made
Possession which isn't going to come out until July at the earliest. And I'm in
Gosford Park, I think it was this time last year, and then I did a hyper
paranoid thriller called Company Man that type of a change, I think.
EMILY:
Is Company Man a studio film, big big budget? [just keep talking cutey...]
JEREMY:
No. I think we did that
for about $8 million. It was tidy. And thirty-five days shooting. The only rhyme
or reason to it, I suppose, is that I sometimes feel like I'm in way too many
period movies, not because I'm dissatisfied with the results or not enjoyed the
experience in making them, but because sometimes period movies, often they are
lumped together into one separate ghetto. That this would be put with Emma or An
Ideal Husband I mean, how are they different? The parts might be, all the
periods are, but they're all consigned to one bucket. Which can be a little
frustrating sometimes, because I always want to do things that are different. I
don't want to be doing the same thing, the same performance constantly, and it
feels like most people tell you that they are the same. However different you
feel might approach
them. So I'm always looking for things that are going to be clear… if there's
an opportunity to be something away from the ordinary that I feel I can have a
go at, then I will. Hence things like Happy, Texas or Mimic, or even Gloria ,
you know, or Company Man. I don't see any point in this if you're just sort of
repeating what one's done. That's terrible.
EMILY: This
WWII movie feels quite modern not all heavy handed. [Blunt translation: not
DULL]
JEREMY:
I think that's part of the
attraction for me for this story, this script, is that it had a sort of, partly
because the story reveals things that were not commonly known until quite
recently, namely about the Katyn massacre and part of the film describes having
to suppress this information for a greater cause over there. That's, we're
telling this story now in an age of
fairly healthy cynicism about what systems of government and information tell us
about things. Our attitudes have changed a lot, really, and so there's a certain
toughness about it. I don't think any of us wants it to, although one has to
embrace the fact that people talk differently, articulate differently, they're,
people came from different educations and backgrounds and experiences and that
formed the way that they appeared to be and the way they articulated themselves
and the vocabulary they used. None of us wanted to an impersonation of
performances that one has seen in previous WWII movies,so there is that thing.
EMILY: How was it working
with this cast? You and Dougray Scott had some great scenes!
JEREMY: Oh,
it was a pleasure working with him. Nerve-wracking to start with,because to
play, what I have to,you know you rethink for this to work, I've got to really
bully the guy and you just hope that the person playing Jericho will allow
himself to be bullied. It's like dancing....
END
I zoned when he said dancing...suddenly he and I were alone on a cruiseship in
the Atlantic...dancing to a great version of Begin The Beguine...then someone
yelled "Iceberg!" Well, not really. They interrupted actually to
advise Mr. Northam had to scurry off to his next drooling journalist.....
When I say Jeremy is handsome I mean take George Clooney multiply his looks by
ten, ad a spy-like British accent with that adorable messy "bed head"
hair and wrap it all up in a perfect 6'2" foot package....Um, YUM!
See Enigma - it is brilliant!
© Blunt Review - 19/April/2002